CV - HABIB REZAEI حبیب رضایی

Habib Rezaei, حبیب رضایی ویژوال آرتیست

Habib Rezaei

Habib Rezaei, born 1979, Iran, lives and works in Giessen, Germany

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Exhibitions

Solo Exhibitions

2010 – Painting , Seyhoun gallery, Tehran
2006 – Painting , Seyhoun gallery, Tehran

Group Exhibitions

2023 – painting Ex, Gießen, Germany
2019 – painting Ex, Soore gallery, Tehran, Iran
2018 – painting Ex, Soore gallery, Tehran
2017 – painting Ex, Mah gallery, Tehran, More
2016 – painting Ex, Aria gallery , Tehran
2014 – Drawing exhibition, Homa gallery, Tehran
2013 – Tehran Photography Expo, Shams gallery, Tehran, … More
2012 – The 8th Iran international painting Biennale, Tehran
2011 – painting exhibition, Imam-Ali museum, Tehran
2007 – Painting exhibition, Art gallery, Isfahan, Iran
2006 – Painting exhibition, Shive gallery, Shiraz, Iran
2005 – Painting exhibition, Farhang gallery, Qom, Iran
And more …

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Education

2023 – Kunst Pädagogik, Justus Liebig Universität, Germany
2009-2011 – M.A, painting, faculty of fine art, Shahed University, Tehran, Iran
2003-2008 – B.A, Painting, Art University of Isfahan, Iran

Habib Rezaei ( in Persish : حبیب رضایی )(b.1979) is an Iranian artist based in Germany, whose practice unfolds through the fragile medium of transparency. Working predominantly in small-scale formats, Rezaei engages with the language of light and layering—not merely as aesthetic devices but as tools of resistance and remembrance. His works, often composed of oil on canvas or delicate works on paper, subtly reconstruct and disrupt traditional Iranian architectural motifs. Through a methodical yet intuitive distortion of geometric

patterns, Rezaei dismantles ornamental repetition, treating it as a metaphor for ideological stagnation and institutional rigidity.

Rezaei’s visual grammar draws heavily on the poetics of space and structure, yet within his transparent fields lies a persistent undercurrent of mourning—for a nation shaped by ongoing political trauma and collective sorrow. These works do not shout; they hover, whisper, fracture. They evoke the aftermath of events too complex for direct depiction, relying instead on temporal

fragility and spatial silence to suggest a form of institutional critique.

In Rezaei’s work, transparency becomes more than a material—it functions as both subject and strategy: a sensory veil through which memory, geography, and power are filtered. The interplay of order and disorder, symmetry and rupture, invites viewers into a space where repetition becomes warning, and ornament becomes message—a quiet but unyielding confrontation with authority and erasure.

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