Tatari's work reflects the tribal, mystical and colorful background of his homeland, Turkmen Sahara in northeastern region of Iran.
Tatari's large wall hangings of acrylic on canvas reflect a happy mélange of styles, reminiscent of his Central Asian roots, Iranian miniatures, icons and Fauvist images.
We see figurative forms verging on the abstract, some representing the intimate rituals of family life, domestic scenes, mostly of women, the custodians of the visual expression of the tribe. Other compositions resemble nomad encampments, saintly figures or dancing dervishes, framed often by indecipherable phrases and prayers.
A recurrent motif in Tatari's work is the square, reflecting the Kaaba - the ultimate sacred square and the four sacred elements of earth, water, fire and the air, and their relation to mankind. Another repeated theme is the image of a "Tchacho" also known as "Chador Shab" (the night veil), the personal silk cover used for weddings and funerals, which with its green, purple and red colors connects life to death.
The dominant red and orange in the paintings reflect the colors of the Turkmen Dasht region; the blue refers to the Caspian Sea; the figures, semi-abstract undefined forms, whether male or female, revealed; their luminous serenity reflecting sacred moments.
Tatari's sensual paintings radiate warm luscious colors, often reflecting what could be called a nearly religious feeling for life. Devoid of the disturbing subjects surrounding today's Iran, they act on the viewer like a mental balm.
Tatari teaches fine arts at the University of Tehran and has exhibited extensively since 1992. His works can be seen in the Tehran Museum of Modem Art, The British Museum, London and The Jordan Museum, Amman.
Tatari’s artistic talent comes from his mother who was a carpet designer and weaver. In addition couple of his cousins began to change of their course of career from craftsmanship to production of artworks in his hometown Gonbad Kavos.
He proved himself in art from very beginning winning prizes in elementary and high school art competitions. His interest, devotion and involvement with art continued to his higher education in collage level and slowly became his chosen occupation when he moved to Tehran in 1985 in pursue of his career in art.
Tatari like most people of his region believe in optimism and bright future leading one to heaven, which are translated to colorful and bright images, in some ways the battle of good with bad, and a fight against demeans. All the images/ motifs in his paintings are reflection of his culture, traditions and his deep beliefs in nature and power of religion.
The collage often used in his works is derived from the traditional of patch works popular in his surrounding, called 40 pieces patch work “chel tikeh dozi”, part of his ancestral craft man ship.
Red and oranges, celebrating life, and shouting happiness and glowing with colors and warmth, dominate giant canvases by Aneh Mohammad Tatari.
Why so much red "This red is inspired by the people who live in the desert. The people, in their turn, are inspired by their surrounding and are in harmony with it. The red is in their nature. The desert is red, the sand is red, and the color of the earth is red. That red is repeated in the clothes of the people, in the scarves of the women, in the jeweler they wear, in the insides of their homes. Symbolically, red is the brave, the proud, the dignified.
Tatari comes from the Turkmen Sahara tribe of northeastern Iran. His paintings are rich with the culture and memories of his people. Although he lives in Tehran, he travels often to his home region and takes his inspiration from his roots.
He claims proudly that he is the descendants of Genghis Khan, of Timor Lang, his people are not only good fighters, they are also artists with art running in their blood."
Tatari's paintings are a happy fusion of styles. He paints mostly with acrylic on canvas, but also does collage and batik. His Central Asian roots, Iranian miniatures, icons and favorite images inspire his work. A recurrent motif is the square, reflecting the Holy Kaaba, the ultimate sacred square in Makka, and the four sacred elements of earth, water, fire and air, and their relation to mankind.
Another repeated theme is the Tchacho, also known as Chador Shab (the night veil), the personal silk cover used for weddings and funerals, which connects life to death with its colors of green, purple and red.
Figurative forms merge into abstracts, some representing the rituals of family life; other compositions resemble nomad encampments, dancing dervishes, framed often by indecipherable phrases.
Natural symbols specially fire, source of light, heat and purity and tree mostly used in his more recent paintings, especially Cyprus as a symbol of strength and courage.
The figures, are human mostly obscured and veiled (Hejab), which can be females or males usually dominates his scenes and performing certain rituals, often in a circular movement, representing the turning Kaaba, the holly shrine of Islam. The text and writings even though abstract represent verses from holly Quran and praises, benedictions and blessings. Other symbols in Tatari work come from the turning of moon, sun and the earth. The outstanding features in his paintings are, bright faces of saints that are stemmed from his faith.
Tatari teaches fine arts at the University of Tehran and has exhibited in England, France, Armenia, Jordan, India and Iran – since 1992. He did a group show in Total Arts earlier and this is his 2nd solo exhibition in the UAE. His works can be seen in the Tehran Museum of Modern Art, The British Museum, London, and the Jordan Museum, Amman.
Tatari paintings are traditional yet modern. People interpret them in their own way. Everyone can easily understand his paintings, they are as universal as the air we breathe because it is pure, honest, a celebration of life and faith. People feel close to Tatari paintings and comfortable with what they see.
Dariush Zandi, who has visited the artist in his Tehran home, says:
Tatari's own way of life is also simple and honest. The family lives a simple life in the middle of a busy area. He works in the middle with his family around him; there is no special studio. Paints, brushes are all in a corner. His paintings hang everywhere and unstitched ones lie folded in corners. The feel of the room is totally different. It is a room that is full of energy, yet curiously calming, relaxing. You forget the house is in the heart of a busy, crowded locality," Zandi says.
Tatari believes that a good painting should take you somewhere else, away from your troubles. It should take you to another world that is calm, serene, and honest a world that teaches you how to live well. A world that is both serene and energetic.
Tatari believe that to be a good painter, you have to learn music. You must know the tones and half tones and move with the music. Tatari listen to the traditional music of his tribe and flow with it.
Tatari listens to music as he designs and paints. He designs his compositions late night onwards, when his family and neighborhood are quietly. He uses a chalk to sketch and design. In the morning, he starts painting.
Tatari work all day, sometimes right up to midnight then he just collapse and fall asleep with his hands covered with paint.
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