Aziz Art
July 2018
Salvador DalĂ
Aziz Anzabi
ART REPRESENT
2- Salvador Dali 21-Aziz Anzabi 25-Art Represent
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari
http://www.aziz-anzabi.com
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquess of Dalí de Púbol (11 May 1904 – 23 January 1989), known professionally as Salvador Dalí was a prominent Spanish surrealist born in Figueres, Catalonia, Spain.
in a variety of media.
Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descended from the Moors.
Dalí was a skilled draftsman, best known for the striking and bizarre Dalí was highly imaginative, and images in his surrealist work. His also enjoyed indulging in unusual painterly skills are often attributed and grandiose behavior. His to the influence of Renaissance eccentric manner and attentionmasters. His best-known work, The grabbing public actions sometimes Persistence of Memory, was drew more attention than his completed in August 1931. Dalí's artwork, to the dismay of those expansive artistic repertoire who held his work in high esteem, included film, sculpture, and and to the irritation of his critics. photography, at times in collaboration with a range of artists
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Early life Salvador Domingo Felipe Jacinto Dalí i Domènech was born on 11 May 1904, at 8:45 am GMT,on the first floor of Carrer Monturiol, 20 , in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.[10] In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 . Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Dalí i Cusí, was a middleclass lawyer and notary whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors.
myself but conceived too much in the absolute." Images of his longdead brother would reappear embedded in his later works, including Portrait of My Dead Brother (1963). Dalí also had a sister, Anna Maria, who was three years younger. In 1949, she published a book about her brother, Dalí as Seen by His Sister. His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.
Dalí attended drawing school. In 1916, he also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.The next When he was five, Dalí was taken year, Dalí's father organized an to his brother's grave and told by exhibition of his charcoal drawings his parents that he was his in their family home. He had his brother's reincarnation, a concept first public exhibition at the which he came to believe. Of his Municipal Theatre in Figueres in brother, Dalí said, "[we] resembled 1919, a site he would return to each other like two drops of water, decades later. but we had different reflections." He "was probably a first version of
In February 1921, Dalí's mother mutual passion,but Dalí rejected died of breast cancer. Dalí was 16 the poet's sexual advances years old; he later said his mother's death "was the greatest blow I had However it was his paintings, in experienced in my life. I which he experimented with worshipped her... I could not Cubism, that earned him the most resign myself to the loss of a attention from his fellow students. being on whom I counted to make invisible the unavoidable blemishes of my soul." After her death, His only information on Cubist art Dalí's father married his deceased had come from magazine articles wife's sister. Dalí did not resent and a catalog given to him by this marriage, because he had Pichot, since there were no Cubist great love and respect for his aunt artists in Madrid at the time.
Madrid, Barcelona and Paris In 1922, Dalí moved into the Residencia de Estudiantes in Madrid and studied at the Real Academia de Bellas Artes de San Fernando. A lean 1.72 metres tall,Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century. At the Residencia, he became close friends with (among others) Pepín Bello, Luis Buñuel, and Federico García Lorca. The friendship with Lorca had a strong element of
In 1924, Dalí, still unknown to the public, illustrated a book for the first time. It was a publication of the Catalan poem Les bruixes de Llers ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. Dalí also experimented with Dada, which influenced his work throughout his life. Dalí held his first solo exhibition at Galeries Dalmau in Barcelona,
from 14 to 27 November 1925. At the time Dalí was not yet immersed in the Surrealist style for which he would later become famous. The exhibition among the public and critics was well received. The following year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with support of the art critic Sebastià Gasch. Dalí was expelled from the Academy in 1926, shortly before his final exams, when he was accused of starting an unrest. His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926. That same year, he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered.Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who introduced him to many Surrealist friends.As he developed his own style over the next few years, Dalí made a number of works heavily influenced by Picasso and Miró.Some trends in Dalí's work that would continue throughout
his life were already evident in the 1920s. Dalí devoured influences from many styles of art, ranging from the most academically classic, to the most cutting-edge avant-garde.His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez.He used both classical and modernist techniques, sometimes in separate works, and sometimes combined. Exhibitions of his works in Barcelona attracted much attention along with mixtures of praise and puzzled debate from critics. Dalí grew a flamboyant moustache, influenced by 17th-century Spanish master painter Diego Velázquez. The moustache became an iconic trademark of his appearance for the rest of his life. 1929 to World War II In 1929, Dalí collaborated with surrealist film director Luis Buñuel on the short film Un Chien Andalou (An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not
substantiated by contemporary accounts. Also, in August 1929, Dalí met his lifelong and primary muse, inspiration, and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to surrealist poet Paul Éluard. In the same year, Dalí had important professional exhibitions and officially joined the Surrealist group in the Montparnasse quarter of Paris. His work had already been heavily influenced by surrealism for two years. The Surrealists hailed what Dalí called his paranoiac-critical method of accessing the subconscious for greater artistic creativity. Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Jesus Christ, with a
provocative inscription: "Sometimes, I spit for fun on my mother's portrait". Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be disinherited, and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He bought the place, and over the years enlarged it by buying the neighbouring fishermen cabins, gradually building his much beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion. In 1931, Dalí painted one of his most famous works, The Persistence of Memory,which introduced a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work
such as the wide expanding landscape, and other limp watches shown being devoured by ants. Dalí and Gala, having lived together since 1929, were married in 1934 in a semi-secret civil ceremony. They later remarried in a Catholic ceremony in 1958.In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of his muse. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí by Catalan composer Xavier Benguerel. Dalí was introduced to the United States by art dealer Julien Levy in 1934. The exhibition in New York of Dalí's works, including Persistence of Memory, created an
immediate sensation. Social Register listees feted him at a specially organized "Dalí Ball". He showed up wearing a glass case on his chest, which contained a brassiere. In that year, Dalí and Gala also attended a masquerade party in New York, hosted for them by heiress Caresse Crosby, the inventor of the brassiere. For their costumes, they dressed as the Lindbergh baby and his kidnapper. The resulting uproar in the press was so great that Dalí apologized. When he returned to Paris, the Surrealists confronted him about his apology for a surrealist act. While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention". Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism.
Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group. To this, Dalí retorted, "I myself am surrealism". In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, titled Fantômes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet. He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind." In 1936, Dalí, aged 32, was featured on the cover of Time magazine. Also in 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí became famous for another incident. Levy's program of short surrealist films was timed to take place at the same time as the first
surrealism exhibition at the Museum of Modern Art, featuring Dalí's work. Dalí was in the audience at the screening, but halfway through the film, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made", he said. "I never wrote it down or told anyone, but it is as if he had stolen it". Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!" In this period, Dalí's main patron in London was the very wealthy Edward James. He had helped Dalí emerge into the art world by purchasing many works and by supporting him financially for two years. They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa. Meanwhile, Spain was going through a civil war (1936–1939), with many artists taking a side or going into exile.
In 1938, Dalí met Sigmund Freud thanks to Stefan Zweig. Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others that "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero. Later, in September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. At the end of the 20th century, "La Pausa" was partially replicated at the Dallas Museum of Art to welcome the Reeves collection and part of Chanel's original furniture for the house. Also in 1938, Dalí unveiled Rainy Taxi, a three-dimensional artwork, consisting of an actual automobile with two mannequin occupants. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organised by André Breton and Paul Éluard. The Exposition was designed by artist Marcel Duchamp, who also served as host.
At the 1939 New York World's Fair, Dalí debuted his Dream of Venus surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes and Murray Korman. Like most attractions in the Amusements Area, an admission fee was charged. In 1939, André Breton coined the derogatory nickname "Avida Dollars", an anagram for "Salvador Dalí", a phonetic rendering of the French phrase avide à dollars, meaning "eager for dollars". This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the French Communist Party at the time, expelled him from their movement.Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead.
The Surrealist movement and various members thereof would continue to issue extremely harsh polemics against Dalí until the time of his death, and beyond. World War II In 1940, as World War II tore through Europe, Dalí and Gala retreated to the United States, where they lived for eight years splitting their time between New York and Monterey, California. They were able to escape because on June 20, 1940, they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. Salvador and Gala Dalí crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. Dalí’s arrival in New York was one of the catalysts in the development of that city as a world art center in the post-war years.After the move, Dalí returned to the practice of Catholicism. "During this period, Dalí never stopped writing", wrote Robert and Nicolas Descharnes.
Dalí worked prolifically in a variety of media during this period, designing jewelry, clothes, furniture, stage sets for plays and ballet, and retail store display windows. In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he shoved a decorative bathtub through a plate glass window.
Dali spent the winter of 1940–41 at Hampton Manor, the residence of bra designer and patron of the arts Caresse Crosby, near Bowling Green in Caroline County, Virginia. During his time there, he spent his time on various projects. He was described as a "showman" by residents in the local newspaper. In 1941, Dalí drafted a film scenario for Jean Gabin called Moontide. In 1942, he published his autobiography, The Secret Life of Salvador Dalí. He wrote catalogs for his exhibitions, such as that at the Knoedler Gallery in New York in 1943.
Therein he attacked some often- from 1942 to 1946. In his 1982 used surrealist techniques by autobiography Mon Dernier soupir proclaiming, "Surrealism will at (My Last Sigh, 1983), Buñuel wrote least have served to give that, over the years, he had experimental proof that total rejected Dalí's attempts at sterility and attempts at reconciliation. automatizations have gone too far An Italian friar, Gabriele Maria and have led to a totalitarian Berardi, claimed to have performed system. ... Today's laziness and the an exorcism on Dalí while he was in total lack of technique have France in 1947. In 2005, a sculpture reached their paroxysm in the of Christ on the Cross was psychological signification of the discovered in the friar's estate. It current use of the college" had been claimed that Dalí gave (collage). He also wrote a novel, this work to his exorcist out of published in 1944, about a fashion gratitude, and two Spanish art salon for automobiles. This resulted experts confirmed that there were in a drawing by Edwin Cox in The adequate stylistic reasons to Miami Herald, depicting Dalí believe the sculpture was made by dressing an automobile in an Dalí. evening gown. Later years in Spain In The Secret Life, Dalí suggested In 1948 Dalí and Gala moved back that he had split with Luis Buñuel into their house in Port Lligat, on because the latter was a the coast near Cadaqués. For the Communist and an atheist. Buñuel next three decades, he would was fired (or resigned) from his spend most of his time there position at the Museum of Modern painting, taking time off and Art (MOMA), supposedly after spending winters with his wife in Cardinal Spellman of New York Paris and New York.His acceptance went to see Iris Barry, head of the and implicit embrace of Franco's film department at MOMA. Buñuel dictatorship were strongly then went back to Hollywood disapproved of by other Spanish where he worked in the dubbing artists and intellectuals who department of Warner Brothers remained in exile.
In 1959, André Breton organized an exhibit called Homage to Surrealism, celebrating the fortieth anniversary of Surrealism, which contained works by Dalí, Joan Miró, Enrique Tábara, and Eugenio Granell. Breton vehemently fought against the inclusion of Dalí's Sistine Madonna in the International Surrealism Exhibition in New York the following year. Late in his career Dalí did not confine himself to painting, but explored many unusual or novel media and processes: for example, he experimented with bulletist artworks. Many of his late works incorporated optical illusions, negative space, visual puns and trompe l'œil visual effects. He also experimented with pointillism, enlarged half-tone dot grids (a technique which Roy Lichtenstein would later use), and stereoscopic images.He was among the first artists to employ holography in an artistic manner.In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art. Dalí also developed a keen interest in natural science and
mathematics. This is manifested in
several of his paintings, notably from the 1950s, in which he painted his subjects as composed of rhinoceros horn shapes. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary. Dalí was also fascinated by DNA and the tesseract an unfolding of a hypercube is featured in the painting Crucifixion . At some point, Dalí had a glass floor installed in a room near his studio in Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings.17–18, 172 He also delighted in using the room for entertaining guests and visitors to his house and studio. In many of his paintings, Dalí used anamorphosis, a form of eccentric and exaggerated perspective which distorts objects beyond recognition; however, when seen from a particular skewed viewpoint, a legible depiction emerges.
He used the power of this technique to conceal "secret" or "forbidden" images in plain sight.20–25 Dalí's post–World War II period bore the hallmarks of technical virtuosity and an intensifying interest in optical effects, science, and religion. He became an increasingly devout Catholic, while at the same time he had been inspired by the shock of Hiroshima and the dawning of the "atomic age". Therefore, Dalí labeled this period "Nuclear Mysticism". In paintings such as The Madonna of Port Lligat (first version, 1949) and Corpus Hypercubus (1954), Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics.His Nuclear Mysticism works included such notable pieces as La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968–70).
his energy through 1974, when it opened. He continued to make additions through the mid-1980s.
Dalí continued to indulge in publicity stunts and self-consciously outrageous behavior. To promote his 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording. In 1968, Dalí filmed a humorous television advertisement for Lanvin (fr) chocolates. In this, he proclaims in French "Je suis fou du chocolat Lanvin!" ("I'm crazy about Lanvin chocolate!") while biting a morsel, causing him to become cross-eyed and his moustache to swivel upwards. In 1969, he designed the Chupa Chups logo,founded by Enric Bernat, in addition to facilitating the design of the advertising In 1960, Dalí began work on his campaign for the 1969 Eurovision Theatre and Museum in his home Song Contest and creating a large town of Figueres; it was his largest on-stage metal sculpture that stood single project and a main focus of at the Teatro Real in Madrid.
In the television programme Dirty Dalí: A Private View broadcast on Channel 4 on June 3, 2007, art critic Brian Sewell described his acquaintance with Dalí in the late 1960s, which included lying down in the fetal position without trousers in the armpit of a figure of Christ and masturbating for Dalí, who pretended to take photos while fumbling in his own trousers. Final years and death In 1968, Dalí had bought a castle in Púbol for Gala; and starting in 1971 she would retreat there alone for weeks at a time. By Dalí's own admission, he had agreed not to go there without written permission from his wife.His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.
thus causing an untimely end to his artistic capacity. In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbo (Marquess of Dalí de Púbol) in the nobility of Spain, hereby referring to Púbol, the place where he lived. The title was in first instance hereditary, but on request of Dalí changed to life only in 1983.
In 1980 at age 76, Dalí's health took a catastrophic turn. His right hand trembled terribly, with Parkinson-like symptoms. His near-senile wife allegedly had been dosing him with a dangerous cocktail of unprescribed medicine that damaged his nervous system,
In May 1983, Dalí revealed what would be his last painting, The Swallow's Tail, a work heavily influenced by the mathematical catastrophe theory of René Thom.
Gala died on 10 June 1982, at the age of 87. After Gala's death, Dalí lost much of his will to live. He deliberately dehydrated himself, possibly as a suicide attempt; there are also claims that he had tried to put himself into a state of suspended animation as he had read that some microorganisms could do.[84] He moved from Figueres to the castle in Púbol, which was the site of her death and her grave.
In 1984, a fire broke out in his bedroom under unclear circumstances. It was possibly a suicide attempt by Dalí, or possibly simple negligence by his staff. Dalí was rescued by friend and collaborator Robert Descharnes and returned to Figueres, where a group of his friends, patrons, and fellow artists saw to it that he was comfortable living in his Theater-Museum in his final years. There have been allegations that Dalí was forced by his guardians to sign blank canvases that would later, even after his death, be used in forgeries and sold as originals.It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death. As a result, art dealers tend to be wary of late works attributed to Dalí. In November 1988, Dalí entered the hospital with heart failure; a pacemaker had been implanted previously. On 5 December 1988, he was visited by King Juan Carlos,
who confessed that he had always
been a serious devotee of Dalí.Dalí gave the king a drawing, Head of Europa, which would turn out to be Dalí's final drawing. In early January 1989, Dali was returned to the Teatro-Museo and on his return he made his last public appearance. He was taken in a wheelchair to a room where press and TV were waiting and made a brief statement, saying:
When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity. On the morning of 23 January 1989, while his favorite record of Tristan and Isolde played, Dalí died of heart failure at the age of 84. He is buried in the crypt below the stage of his Theatre and Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only three blocks from the house where he was born.
The Gala-Salvador Dalí Foundation currently serves as his official estate.The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society. In 2002, the Society made news when it asked Google to remove a customized version of its logo put up to commemorate Dalí, alleging that portions of specific artworks under its protection had been used without permission. Google complied with the request, but denied that there was any copyright violation.
DALI
AZIZ ANZABI
Doctor Aziz Anzabi -is a painter, teenage hood, period of tension, sculptor, film makeup artist, poet, colour and war, period of moving in author and Family counsellor dimension and period of doctoral. Aziz is one of the emigration. We can accept the fact contemporary artists from Iran that Aziz is currently one of the living in UK right now. Aziz's hardest working artists. The unique vision separates him from painting, life that is forgotten is one other artists. Works like Battle and of the most clear paintings in the Sad But True show his concerns period of immigration that Aziz has about social problems. produced .This painting has the Life effects of Surrealism style and Anzabi was born on the 18th July Qajar art symbols which try to 1970 in Iran capital, city Tehran. represent immigration from his He finished his education on the own society to a new community subject family counselling with a which was foreign to him. There is PHD level in Tehran. Aziz also went no doubt that Aziz's childhood and to institute for the intellectual teenage hood growing up in the development of children and war between Iraq and Iran 1980 young adults for painting classes. In plus losing many friends has had a his childhood deep effect on his emotions .These Aziz was apprenticed to events had led him to produce Mohammad Farahani one of the works of art that was in black and professors of the Pictures white. In this specific period we can coffeehouse style. The effect of point out his black and white pictures coffeehouse style religious abstracts and grey collages with theme had a significant impact on using pictures of war ripped from a Anzabi's soul. And his thoughts newspaper to show how war and were always trapped with this loss of friends has impacted his art. theme. Aziz is from one of the average His work is often categorized into Iranian families. His dad and mum periods. The most commonly were originally born in Russia accepted periods in his work are however they had to immigrate to the period of childhood and Iran when they were still kids. 21
His dad had a strong role in leading Anzabi to work with visual art. Aziz's dad had a different view though compared to the people during the same era. His dad's tendency towards building items with stone and cement was one way Aziz was drawn to visual art. In the year 1988 after Aziz entered the teacher training course and passed his education a new period started in his life. This is able to be seen in his works. The habit of him using more of quantities in his work was a basis for him to turn to the art of sculpting. With going to professors like Bahman Azar Fahimi Aziz grew a liking to FX film makeup artist. In the year 1990 and after that Aziz spent most of his time learning and doing makeup .With the presence of professor doctor Mahin Meehan and Professor Jalaledin Moayerian Aziz accomplished being a good makeup artist. The result of Aziz working with the subject makeup in these years led to more than
80 theatres, films and T.V. series which he took part in either as a makeup designer or a makeup artist. The relationship with Aziz and people like Nami Petgar, Hossein Kashian, Parvaneh sepehri and Hossein Panahi had a lot to do with colour returning on Aziz's works. They also had a big share in helping Aziz to have movement, form and variety in his paintings. Works like knotted forms of sculpture and 2 coloured paintings can be the symbols of this period. The attachment of Aziz to Surrealism style and specially Salvador Dali's style has a really vast effect on the way Aziz displayed paint on Canvas. He used Sohrab Sepehri's poems for the theme of his works and believed that Sohrab's poems was another form of what Dali wanted to show in his works. His father’s death in the year 1999 made Aziz very stagnated and Inactive in any art related works. These years of uncertainty made Aziz turn to mysticism and research the lives of master sophists of Iran and this period carried on until 2009. At the end of 2010 was forced to immigrate..
However this event made Aziz turn back to visual art and this can be seen in his works.
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