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Artist/Naturalist
Ahmad
Nadalian
by : John Caddy
http://www.morning-earth.org/ARTISTNATURALISTS/AN_Nadalian.html
John
Caddy is a poet, a teacher, and a lifelong student of nature. John's
heart is hidden under a pine tree in Minnesota's North Woods, where
it steadily beats. John has taught poetry in schools for thirty-five
years. He teaches at Hamline University's Center for Global
Environmental Education in St. Paul, Minnesota, where he directed
the Self Expressing Earth program. John began and directs the
Morning Earth program.

John's heritage is Cornish, and in 2001 he was made a Bard of the
Cornish Gorseth in Cornwall, Britain.
John's poetry has won the Bush Artist's fellowship, MN State Arts
Board fellowships, the Loft/McKnight award and Milkweed Editions'
Lakes and Prairies award. John's teaching has been honored by the
Sally Ordway Irving award for Arts Education.
The Color of Mesabi Bones won the Los Angeles Times Book Prize and the
Minnesota Book Award. John's favorite award, though, is below, given
to him by Jesse Richards, a second grade poet.
More
http://www.morning-earth.org/ARTISTNATURALISTS/AN_Caddy.html
I am an aging
poet whose spirit is more lively all the time. I live near
Forest Lake, Minnesota on ten
acres of woods, marsh and ponds, with my wife Lin, and four
excellent cats. I have published several books, mostly poetry,
but also about arts education. I have reviewed childrens’ books
for Riverbank Review. I've performed my poetry onstage with jazz
musicians and dancers.
http://www.morning-earth.org/John_Caddy.html
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Iranian artist Ahmad Nadalian is a
worldwide emissary of Mother Earth. For many years he has
performed his carvings of fish and goddesses in such diverse
countries as France, Germany, Italy, the US, Kazakstan,
Uzbekistan, Russia, and his storied Persian homeland. Nadalian is
deeply connected to water--streams and tides--and uses them to
enact rituals of rebirth. The streams of his childhood homeplace
have been destroyed. In a kind of compensatory healing, the artist
carves water beings on rocks within streams and on their banks. On
stones rolled smooth by water he incices fish, then cermonially
frees them by returning them to water. This is a kind of
installation art for future generations. Similarly, he buries
other carvings on land in many hidden locations. |
A recurring subject of Nadalian's art
is Anahita, ancient goddess of the waters and fertility.He
has carved her image into many rocks in places united by flowing
waters that surround her image.
He has painted her on
sands using pigments from overlooking cliffs.
Nadalian is an Earth advocate, a true eco-artist. For several years he
has hosted Environmental Art Festivals on the island of Hormuz in the
Persian Gulf and at his home place.

Nadalian's range and
versatility are only suggested by the galleries below.
Nadalian's Carved Stones

A suggestive
trio of snake, apple, fish

Anahita graces
a river stone in Italy.

Mithras in womb, New Mexico, US

Hands and pool, Tadjikistan

feet and bowl in Mallorca

fish on rock in river, Iran

Anahita, Goddess of Fertility

Serpent in Garden in Darabad,
Tehran, Iran

Dove in Darabad, Tehran, Iran

Goddess or Eve in
Darabad, Tehran, Iran

red people, buried in Kansas City,
US



In his travels, Nadalian
collaborates with children, witness this proud fern set free

Nadalian's Fish
Ritually Set Free
Nadalian ritually
carves fish and other water beings on water-smoothed stones, then sets
them free in water for future generations to find or not find. This
ritual suggests a kind of atonement the artist performs for humanity,
in hope.The photos of the moment of return are the very essence of
ephemeral art. The ancient and the high tech happily coincide.

Nadalian
performs the ritual of new life

sandstone fish
set free in new life

limestone fish
set free in new life

fish set free into new
life


frog set free
amid fall leaves

Fish set free through ice,
Russia

This map shows the locations of
Nadalian's Works around the globe. The blue
points show the place where he has carved on rocks and the
orange points show where his carvings have
been buried, often by travelers who carried and buried his carvings.
Nadalian's Ephemeral Prints in Sand
Nadalian brilliantly re-invents the
cylinder seal of the ancient Near East, once used to print
scenes,often of religious significance, on moist clay. Nadalian
honors the living spirits of mouse and hedgehog, fish and serpent
and crab, scorpion and desert tree, by sealing their images into
sand that will soon blur into desert winds or vanish into tide-wash,
as must all life.
A fine evocation of spiky desert
foliage

The undulating curve
captures the leap of mouse

fish about to be swallowed by tide

An intensity of hedgehogs in the
desert

Sand Serpents explore the Maranjab
sands

crab seal being rolled along an
ocean beach

desert foliage cylinder seal in
situ

fish seal being printed in beach
sand

artist at work on the ocean beach

artist printing on the Maranjab
desert sands

Dream of Peace, No War bicycle tires
carved as cylinder seals with a web address
Nadalian's Sand
Paintings with Earth Pigments


The painter has painted himself with
Earth
at one of his environmental art workshops

Earth mineral pigments in decomposed
rock near Hormuz
In HIs Own
Words
I consider my strongest
influences to be on the one hand the nomad lifestyle of my ancestors,
their life close to nature, and on the other the bas-reliefs dating
back to the earliest Iranian civilizations. Buried deep in the heart
of the Iranian hillsides, these carvings use nature as a setting for
art. My aim is not to reconstruct a representation of kingly glories
and triumphs as depicted in the hillside carvings; I wish to return to
the nature I call my own, to be a part of it. My life surrounded by
nature, and the harmony I have found there have led to the formation
of a language in which both the material and the content are derived
from nature.

The village of Poloor
is my ancient homeland, the summer camp of my ancestors. I lived in
the city during my years as a student, and I spent seven years out of
the country. I returned to Iran after finishing my studies. I was
trying to escape an environment that was polluted in every way:
environmentally, politically, and morally. I wanted to return to good
health, to a paradise. In this polluted world, untouched nature can
be a paradise.
But it turned out that the paradise of my childhood was, and still is,
rapidly disappearing.
There were no more
rushing rivers. The dwindling streams were full of plastic bags and
trash, which had replaced the fish. No one prayed for rain anymore.
The sky had turned away from us. People no longer believed in the
divinity of water, of the elements. I wanted to visualize that lost
paradise for myself. The fish that I carve are alive for me. But
technology doesn’t even allow imaginary fish a space to live. The
story continues. I carve fish, and then the bulldozers move in to
make way for new villas and highways, and my fish die. We now have a
cemetery with fish carved on all the headstones. But I haven’t lost
hope. I believe in standing strong until the end.
Without the motion and
sound of the rushing water, my work has little meaning. The river has
been transformed into art. The rising of the water level in spring and
the lowered level in autumn gain significance from the life-affirming
rituals that are part of the philosophy of ancient Iranian mysticism.
I didn’t choose to work
with nature; it chose me, it mesmerized me and taught me how to
re-present what seemed irretriev-ably lost. The choices may have been
instinctual; maybe I was seeking my lost paradise, the paradise of my
childhood memories, a longing for the ways of my ancestors. But my
allegiance is not restricted to the past. I don’t wish to defy
present realities, I don’t deny the beauty of the present. I have a
very positive relationship with new technology, especially
informational technologies, and I feel that new media complements and
completes my work. My voice may have gone unheard without new media.
I would like to preserve and retain the beauty of the past for the
present and the future.
I think about the
future. I have deliberately buried many of my carvings in their
natural settings. These burials are secrets I share with the earth,
an exhibition for later generations. These pieces highlight the value
of the earth, the cradle of humanity and its civilizations.
It’s no longer a question
of whether we live in a small village or the global village. We live
in the age of new technologies and capabilities. These resources have
created new difficulties and crises. History has never before
witnessed such destruction brought upon nature. Environmental crises
and the need to resurrect a pure environment call for a new art form.
Environmental art can play an important role. Art is capable of
illustrating the crisis, critiquing its conditions, and describing a
utopian world.
In the past, rituals and
beliefs stipulated that elements such as water and earth remain pure;
to pollute them was a sin. Today the descendants of those ancient
societies have neither retained their divine beliefs nor gained the
necessary know-ledge to combat the ecological crisis.
Polluted environments are
the result of polluted emotions, thoughts and attitudes; a pure world
belongs to a pure being. The pollution of nature comes from the
pollution of the human soul. We may be wrong in thinking we can work
to save the environment; we have to realize that we too are part of
the environment. All we need to learn is to stop polluting it any
further. This awareness will help us humans more than anything else.
On His Repeated
Images:
The female form I use is
the goddess of water and fertility. I have a specific interest in
ancient Iranian mythology, in which Anahita was worshipped as
the goddess of water and fertility; She purified the waters and the
milk of nursing mothers.
Many of my carvings show the female figure combined with a fish or
moon symbol. Female figures were water goddesses and fertility
symbols in ancient cultures, and the fish and moon also represented
rain and fertility. In an age of increasing water pollution, the
water goddess is a conscious reference to that concept of holiness.
I see the fish as a
metaphor for a human being, and the river, the sea or the ocean are
the world that surrounds us. We need a clean environment to stay
alive. Perhaps one reason for selecting these symbols is my need to
deliberately return to nature. When a human being lives surrounded by
nature, natural symbols will appear in his or her work.
The handprint is one of
the earliest forms testifying to the presence of humans in prehistoric
times and primitive societies. We can use our hands to create beauty
in harmony with nature, or to leave the mark of ugliness upon our
surroundings. The handprint, combined with a simple image of an eye,
describes a sort of prayer, a holy communion.

Ahmad Nadalian
and Andy Goldsworthy
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