How the one who is more engaged in making sculpture would think about drawing? Involving digital drawings actualized in the form of prints, a process similar to photography and its development, this exhibition might provoke this question for the main audiences of Emad’s sculptures.
In the most of these works, it seems that the sculpture is brought closed to an impossible limit which can only be expressed through pure drawing; free and liberated lines, some soft and entangled, some sharp and oriented are accumulated and assembled together to shape a coherent form. However, as in his sculptures, it is still possible to trace the artist’s main concern here. In Emad’s sculptures we are never encountered with a finished, external surface since they are usually the result of space folding and inflecting on itself. The external surface is never the main point of his works. Unlike some approaches toward sculpture, it seems that in his works the main function of the external is to make visible the internal. Holes and hollows are all referring to this other site.
However the inside is neither a void nor a space filled with the external elements. This internal can only be seen through its effects on those elements, inflecting the light and conducting the lines toward a powerful desire. This is a receptive and creative inside that its presence should be felt and perceived through all senses.