Regress | Video sculpture | Seriography | 1989 | 520 sec.
Looking closer, the patterns in gray and gray unexpectedly become a description of world politics, and the gray tristesse of the large-format graphic works and videos suddenly becomes a glaring reflection of the here and now. Previously, I have not seen any technique similar to that used by the Iranian: the artist alienates the picture templates with the help of the photocopier until the subjects can only be surmised. The result is duplicated a hundred times and - as in the puzzle - assembled into a new statement.
Often it was so that an incident in retrospect is not recognizable, because the procedure and description are not corresponding. At some point, the message has been released from the event.
This makes Charmi now visible - and comes to completely new contexts. But these become clear only by looking closely - so clearly that the observer can not believe that the monochrome gray can change in this way.
Charmi "optimizes" his copy "snippets" to a statement that one can confidently concede a "silent impact".