gallery — SOHO REZANEJAD

Split Series 1, 2021, Berlin
Ink on paper (two sides)
64cm x 54cm

Split Series 2, 2021, Berlin
Ink and oil on paper
64cm x 54cm

Split Series 3, 2021, Berlin
Ink on paper
64cm x 54cm

Bruise Series 1, 2021, Berlin
Ink and oil on paper
64cm x 54cm

Bruise Series 2, 2021, Berlin
Ink and oil on paper
54cm x 44cm

Bruise Series 3, 2021, Berlin
Ink and oil on paper
54cm x 44cm

Bruise Series 4, 2021, Berlin
Ink and oil on paper
64cm x 54cm

Red Series 1, 2021, Berlin
Ink on paper
54cm x 44cm

Untitled 1, 2023, Berlin
Acrylic on canvas
180cm x 140cm

Untitled 2, 2023, Berlin
Acrylic on canvas
180cm x 140cm

Soho Rezanejad’s paintings are a meditation on fluctuation and harmony—layered from intuition or “accidents with care.” Multidisciplinary in her approach, Rezanejad comes from a background in music, asserting that her two practices complement each other. While her music often determines itself through storytelling, her painting practice actively moves viscerally.

Dichotomies emerge in verbalizing Rezanejad’s paintings: “the shadow, the bruise, the longing, a voice heard in its echo” all resonate with opposites or cause. These happenings, questions, and embodied experiences are explored through references formed largely through her material and incidental context.

In 2021, while influenced by the work of figures such as Mark Rothko, Susan Frecon, and Clarice Lispector, she had been painting, surrounded by her landlord’s vast collection of Japanese antiquities in the apartment where she resided in Berlin. About 50 pages had been left to Rezanejad from her father, who was a calligrapher, himself inspired by writers such as Rumi and Hafez. In her process, the paper is wetted in a bathtub of black tea and fluids collected as by-products throughout that day and left to dry into hued backgrounds.

Aftermath and indiscernible traces of the past manifest in her ʻbruised paintings.ʼ They are repeatedly fermented and washed before animating the paintings with slowly appearing calligraphic lines made from a gloss of ink, mineral clay, and oil. The surfaced image touches on acts of maintenance and attention—terms that may fall under the umbrella category of care, which here are eliminated and reconstructed until the dynamics of past and present sentimentality offer level potential.

Currently, Rezanejad is creating larger paintings using acrylics with techniques of scraping and layering, as seen in Untitled 1 and 2, 2023, Berlin. These new pieces expand her exploration of texture and form while continuing the dialogue of tension and harmony that underpins her artistic practice, pushing the boundaries of materiality and emotional resonance.

For inquiries, please email anahita@siliconerecords.net