is a photographer based in Mashhad, Iran
Mojir presents a human who is disturbed by civilization and takes shelter in nature.
He can’t realize the gratefulness of nature, so he finds new senses.
The human feels the presence of a being, which he can’t see or touch, but he can speak with it.
After a while, the human falls in love with the creature and wants to see, touch and hear it.
The human in the path of finding his goddess, always repeating a sentence:
Take care of me, the one who cares about me.
A note from Charles K., publisher of WASEmag
Art photography should be seen an felt without political commentary, so I’m saddened to feel the urge to write exactly that.
We, at WASEmag, are struggling since the start to create an unique editorial view where economics, politics and sexual orientation don’t dictate anything.
Publishing people from 30+ countries is no easy task.
We struggle against the first barrier of censorship, which is internal to each culture and varies immensely. (Those who are thinking right now “I’m fortunate my country have none of these” might want to question themselves a little harder and think of ‘what people say’ in their own communities about nudes, nudity and even the possibility of having nude representations in contemporary art.)
We struggle against a globalization that applies to the trade of cheap, crappy electronics if you are fortunate enough, but at the same time erects all kinds of barriers for the trade of information, culture and ideas that are not well-seen by the powers that be.
(A side note here to say that, in spite of what I just said, if it wasn’t for Instagram we wouldn’t even know Amir Hosein’s work and other works we keep looking for as we expand our global network, now reaching, albeit imperfectly, 90+ countries.)
Finally we struggle so many times about not being able to communicate in every existing language. Again, with every passing month we get to know people that are able to help us. For instance, we finally found an editor for Japan. Again, I must be fair and say that Google Translator is of great help, but it’s a complex computational task to go and come from radically different structures such as Japanese and Cantonese into Latin-derived languages and English.
All this to say that, when we do manage, by immense effort, knowledge and very long working days, to communicate our intentions properly to people who have no idea about what we are, at some point we get surprising images from Iran (Amir Hosein is the third Iranian artist we publish), China, Taiwan, South Korea and other countries.
Please: I am Brazilian and I couldn’t be more ‘off-center’. To me, the tourism industry’s definition of “exotic” should be replaced by a mirror. Go to Bhutan or Tibet and try to look at the Occidental cultures with their eyes – we are very exotic.
We will continue looking everywhere we can. We will continue noting down the name of a guy that appears briefly in a TV documentary because it’s possible to locate him and he knows three languages we so far can’t access well. We will continue bugging friends and expanding the community on IG, in this website – which you should really visit more often, as it’s much more important than our IG feed – and through our printed magazine and Flickr community.
When you look at Amir Hosein’s or any other artist’s work, take some time not only to grasp it, instead of rushing through it with a “like” that doesn’t mean that much, but also consider from how far away it came. Think of it not as “another digital file” like a promo from Creative Whatever but rather as a shared vision that has traveled a long way, sometime through complex interlinked networks of real people, not wires, to be presented to you as a gift from it’s creator and from all of those who worked so hard to make it be present in your screen.
If you’ve read so far, I must congratulate you on still setting aside some time to do some thinking. And, please, feel free to think there are other thoughts out there – my own publishing views guiding this magazine or the sum of views herein expressed are just a gesture from hands trying to take another brick OUT of the ever growing wall surrounding us.