Vedad Haghighi

Limited edition handmade illustrations of the Chilean Baha'i House of Worship for South America, signed and numbered (visit store for more details).

(Top) Large aerial illustration of the Chilean Baha'i House of Worship for South America after a snow storm.

Original handmade piece, 26"x26", with platinum, palladium, and silver leaf, acrylic, watercolour, pastel, ink, and charcoal.

(Middle) Large minimal illustration of the Chilean Baha'i House of Worship for South America, partially obscured by foliage, and very fine detailing of the triangular glass facades.

Original handmade piece, 26"x26", with 22 karat yellow gold and pencil on high quality linen textured paper.

(Bottom) A smaller minimal illustration of the Chilean Baha'i House of Worship for South America nestled within a mountain range.

Original handmade piece, 12.5"x12.5", with 22 karat yellow gold and watercolour on high quality linen textured paper.

V.H, 2016-2017. Oil on canvas, 24”x36”

SOLD

V.H, 2013. Oil, acrylic, gouache, and Pd/Pt/Ag/Au leaves on canvas, 24″ x 36″

Framed original available for purchase Prints available for purchase

An abstract periodic table of the elements, this piece maps out several common pigments according to their chemical composition. Titanium White (colour code PW6), for example, is comprised of titanium dioxide. Therefore the paint will appear in the blocks for oxygen and titanium on the periodic table. The noble metals are presented with their respective leaves (gold, platinum, silver, and palladium).

V.H, 2008. Acrylic, paper, and 24 karat gold leaf on canvas, 20″ x 30″

Framed original available for purchase
Prints available for purchase

Piet Mondrian (1872-1944) regarded Boogie Woogie jazz as one of the purest forms of art for its ability to distil music into its bare elements of rhythm and ability to use sound and non-sound. It was music that was freed from the ornamentation and emotion that deviated from any aspect of universality. Mondrian saw Boogie Woogie akin to his own matured style of painting, which was claimed to have been freed from the particular and have transcended to the universal. The freedom from an imposing musical structure in Charles Mingus’ Folk Forms No.1, built entirely on a rhythmic pattern rather than a melody and giving room for flexibility, especially speaks to Mondrian’s vision of what he called “the plastic arts”. Utilizing Mondrian’s language of dynamic equilibrium and harmonized tension, and more specifically, his pictorial vocabulary in his Boogie Woogie series, this piece attempts to transpose Mingus’ composition from the acoustic to the visual.

V.H, 2009. Acrylic and paper on canvas, 18″ x 18″

SOLD

V.H, 2011. Oil and 24 karat gold leaf on canvas, 30″ x 42″

SOLD

V.H, 2012. Ink on rice paper, 8-1/2″ x 11″

SOLD

V.H, 2010-2011. Oil on canvas, 20″ x 20″

Framed original available for purchase
Prints available for purchase

V.H, 2009. Oil on canvas, 20″ x 40″

Framed original available for purchase
Prints available for purchase

V.H, 2009. Acrylic and gouache on canvas, 18″ x 24″

SOLD

The view from the Bahá’í Shrine in Montreal at the top of the stairs, looking towards the Shrine itself.

V.H, 2011-2012. Oil on canvas and oil on masking tape on canvas, 27 1/4 x 16 1/4″

SOLD

V.H, 2010. Oil on canvas, 20″ x 20″

Framed original available for purchase
Prints available for purchase

Piet Mondrian’s (1872-1944) neo-plastic art was, in his view, the ultimate conclusion to Picasso’s (1881-1973) and Braque’s (1882-1963) cubism; it was the realization of a complete dissolution of background and foreground and the complete removal of any trace of visual semiotics. Through the establishment of universal elements of lines and planes, the existence of one line on the canvas was merely a consequence of the existence of the other, a means that abolishes the multiple perspectives of the Cubists. Mondrian felt that this method, executed with the strict use of primary colours and the shades, black and white, achieved what Cubism had sought to do; art was no longer elevated and separate from reality. Where the Planes are the Lines takes Mondrian’s beliefs a step further by attempting to distil his canonical visual elements by breaking the distinction between planes and lines. Each element on this canvas takes on a duality and contradiction of plane and line, determined by how one views and interprets the canvas surface.

V.H, 2008. Acrylic and India ink on masonite board, 10″ x 6″

Framed original available for purchase
Prints available for purchase

A play on Where the Planes are the Lines, this piece provides an alternate dissolution of plane and line by subverting how the two elements define each other. In this case, thin lines produce a plane, while perpendicular lines define separate planes.

V.H. (with Lin J., and Mostmand R.) April 2013-September 2015. Oil, ink, and 24K gold leaf on canvas/rice paper. 24″ x 96″

Prints available for purchase.