Kamrooz Aram: Reclaiming Abstraction Through Cultural Dialogue

Kamrooz Aram, an Iranian-born artist, challenges the notion of abstraction as a solely Western modernist invention. His work engages with ornamental and decorative traditions from the Middle East and beyond, asserting that these visual languages are foundational to modern abstraction rather than merely decorative. Aram's latest exhibitions at Alexander Gray Associates and the 2026 Whitney Biennial showcase his ongoing project of reclaiming the dignity of ornamentation, which he argues is a manifestation of a universal search for shared forms.

New York Observer

Aram's artistic process reflects a complex relationship between structure and intuition. While his earlier works adhered closely to a grid framework, his recent pieces exhibit a loosening of this alignment, allowing for improvisation within a structured context. He likens this process to jazz, where a fixed melody provides a basis for creative expression. Aram emphasizes that structure is not a constraint but a condition that enables other elements to emerge, allowing for a dynamic interplay between intention and spontaneity.

New York Observer

Aram's work navigates the complexities of cultural identity and visual language. He critiques the oversimplification of diverse traditions under generic labels, such as "arabesque," and instead focuses on how forms evoke associations and challenge viewers' interpretive habits. His paintings often reflect a tension between familiarity and otherness, prompting viewers to confront their own biases and assumptions about cultural representation.

New York Observer

In his installations, Aram blurs the lines between artwork and architectural space. He views paintings as architectural ornaments that interact with their surroundings, altering the viewer's experience. His deliberate use of framing devices not only contains compositions but also destabilizes their functions, creating new meanings. This approach is evident in his work at the Whitney Biennial, where he designed a cohesive environment that dissolves distinctions between art and display.

New York Observer

Critics of Aram's work note that while he seeks to deconstruct Western modernism's dismissal of ornamentation, his practice may still be perceived through a Western lens. Some argue that his exploration of abstraction risks reinforcing existing cultural hierarchies rather than dismantling them. However, Aram counters this by asserting that his work embodies broader histories of loss and transformation, reflecting the complexities of cultural persistence.

New York Observer

• “I think the forms are very vague—they might evoke certain things, certain pasts,” — Kamrooz Aram, Artist

New York Observer

• “There’s really no such thing as a neutral space,” — Kamrooz Aram, Artist

New York Observer

• “The texture you see here comes from the staining of oil crayon that’s been erased,” — Kamrooz Aram, Artist

New York Observer

• “It requires getting into a state of mind where I’m completely open to all possibilities.” — Kamrooz Aram, Artist

New York Observer

Kamrooz Aram's work serves as a critical dialogue between cultures, challenging the boundaries of abstraction and ornamentation while inviting viewers to reconsider their perceptions of art and identity.

Hyperallergic