A cross between Jonathan Franzen and Wes Anderson, Mohammadi’s work is sublimely moving and poignant. Instead of creating artificial memories, he somehow conveys his own memories to the viewer, thoroughly convincing them of his own thoughts, feelings and experiences.
We travel with Mohammadi to visit his family in Kurdistan, we see carefully arranged kitchens and kids holding guns. He shows us an abandoned shoe in the rubble, a beautiful girl’s hair flowing down her back. It’s as if he not only wants to explore the complex interior lives of the people around him, but also inanimate objects.
Everyone is treated equally behind Mohammadi’s lense, be it an aging relative or a car rear-view mirror. He has the power to scale everything down to a close up of a fingertip, and then remove everything so far out again, that you are observing all the people passing by on a city street.
This is what sets Aso Mohammadi aside from other photographers; the treatment of each subject with love, and respect. No one and nothing is disposable, everyone deserves attention and kindness.
Words / Ruby Giles