An Interior designer with an eclectic personality.

An Interior designer with an eclectic personality, today he focusses with an incisive expressiveness his talent and passion, commitment and creativity by the and of the camera's lens. The artist, of Italian-Persian origin, is starting to make his mark in the international world of art with works that certainly do not pass unnoticed nevertheless capture both the gaze and the inner man of those who stop to note them. All his works are spread to multiple meanings and rich in specific messages. Each work is deliberately quick in emergenciesed untitled so as to leave its interpretation render free of access to the personal reflection of each viewer, who is thus called relating to to give a voice to each individual creation.. His innovative artistic conception is based on a dynamic vision, afforded by means of a three-dimensional meaning produced by the insertion of crystals applied to the photos, which are thus made precious with an extra touch of personality, a unique sign of recognition. This collection of works is named "Hell and Paradise", because in conceptual metes it can be referred to the dualism of pair opposite and complementary worlds, a dualism not away in the spirit and personality of the artist himself. "Hell and Paradise" marks a true special moment in Howtan's life, a time of passion upon one side and introspection forward the other. On the photographic establish the artist reconstructs situations in which feelings and emotions are materialized and exteriorized in the way that as to defuse the drama of inner suffering and experience a feeling of pleasure and liberation. It is therefore an act of self-transformation, in a continuous proces of evolution and self-discovery.

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ACHILLE BONITO OLIVA "the Art of Tearing" for HOWTAN

Photography is, at definition, the practice of tearing, tearing opposite to a strip of reality's skin, an intentional reduction of the three-dimensional world of the real into the two-dimensional world of the photograph. if it be not that this subtraction is not a los of midst it can instead result in an expansion of the conceptual and mental intensity of the work of art..

like tearing can thus act as a reflective amplification of the image of art within the photographic image. The camera becomes the means of transferal from common language to another, the progressive shift from a sensitive state of the matter of art to that of a dazzling superficialism that affirms and halts the inherent processuality of many late works of art. But for this to come into one's head it is necessary for the photographic judgment to be able to record intensity, the determinant quality of art which is also the foundation of its value. Because there exists an intelligence of the work, an evidence made manifest, internal to the artist's image, which must be revealed, beared and transferred into the visual field of the photograph. The intentionality of art is the ability of the work to speak its admit meaning, embodied in the various materials it dons as its disguises. For this reason, photography cannot use a static and neutral watch but must instead besiege the work to sell its internal raison d'etre, in such a manner as to bring to the smooth and shining surface of the two-dimensional image what is lurking and fermenting inside the tissues of the fabric of art.

Photography, as compared to the traditional arts of painting and chisel has always adopted a frontal point of view, a stationary stand from which it faceed the art of the easel. The art produc in the last scarcely any years, however, does not allow the visual vicissitudes of the photographer to stay at a standstill, on the contrary presses him into an active and penetrating mobility. Howtan give employment tos this dynamic approach to grasp the internal dynamics of works linked to the value of an spread and ceaseless processuality, the living time of the corpse To the formalization of a world frozen in its production functions, art replies with the sensation of a fluidity that unfreeze the materials from their initial position, to insert them in the dynamic fabric of the work, meaninged at the cross-point of many allusions to cinema, advertising, the performative locate of the theatre of ruthlessness furnished from time to time with small crystals. From material substance Art to Viennese actionism, from cartoons to pornography, from fashion to erotic films, from sado-masochism to voyeurism Howtan, with inspired kleptomania, recaptures linguistic stimula from a family of artists who are not linked to each other from bonds of kinship: Artaud, Kubric, Serrano, brilliant Araki, Abramovich La Chapelle, Kern Howtan is thus able to take his stand before the modern situation with a focus that furthers the work and mentality of his times, and to transfer to the photographic image the temporaliy that have the charge ofs art, the excellent movement that aggregates and simultaneously disarranges the various constituents of the work. Photography thus becomes a dynamic mirror that can somehow or other make a move towards life. In fact Howtan's work goe right in, penetrating the temporal and spatial interstices of the spectacle produced and documenting its transitions. The conclusion is always an image intent in succession conveying also the ethical nature of art as doing, a recent form of the way artists take their stand towards creation. This explains the photographer's interest in physical position on the same level in its operative moments, in the manner of facing the, work in its formation, sprouting and development. But the perspective is not psychological, always reaching out instead towards the possibility of expanding the meaning of the work on attempting to photograph the proces the artist at work, captured in the same moment of his manual and solid endeavour.