Hamidreza Mosayebi is a cartoonist, graphic artist, illustrator, university lecturer, idea maker, director and artistic supervisor. He was born in May 1982 in Tehran and graduated with a master's degree in illustration.
Mosayebi has been introduced as an elite by the National Elite Foundation in 2009 and has become the top young artist in Tehran in the same year. Since 1997, he has been continuously collaborating with publications and since 2000, he has continuously participated in domestic and international cartoon exhibitions and competitions, and his works have been published in the selected works of 30 competitions and the International Cartoon Festival.
This cartoonist and graphic artist has also had many executive activities as a secretary and has been a member of the jury of cartoons and graphics in various festivals and competitions.
Hamidreza Mosayebi, in addition to winning numerous domestic awards, has also received prestigious international awards, including: First Prize of the International Cartoon Competition of Turhan Selçuk Turkey 2012, First Prize of the International Cartoon Festival Skopje 2011 Macedonia, Special Prize of the International Cartoon Festival Skopje 2017, winner of the International Anti-Terrorism Cartoon Festival of Iran 2011, Excellence Prize of the LM China International Competition 2005, Special Prize of the 2nd International Cartoon Competition of Syria 2006, Special Prize of the 2nd International Press and Election Cartoon Competition Ukraine 2001 and the Special Prize of the 4th Fajr International Visual Arts Festival in the Cartoon category in 2011.
This university lecturer and cartoon house, in addition to publishing specialized articles since 2001, also has valuable writings, which include: writing and illustrating three books: "History of Illustrated Literature", "Applied Illustrated Literary Arrays", and "Illustrated Vocabulary". And referred to "illustrated readings" of Takhtesiah publications.
In addition to participating in group exhibitions, he had six solo exhibitions at the Iranian House of Cartoon from 2001 to 2014 and a solo illustration exhibition at Banafsheh Gallery in Tehran in 2003, a solo cartoon exhibition and a specialized workshop at the Tabriz Art House (at the invitation of the Tabriz Cartoon Association) in 2008 and a solo exhibition. Cartoon has been set up at the invitation of Khatam Cultural Center in Tehran, 2008. We have conducted a conversation with him under the pretext of all these activities, which you can read:
First, tell us about your recent work and activities and what are your current work concerns?
The truth is that these days my hands and heart are not used much, but we must fight and not lose ourselves. I try to print at least once or twice a week in the newspaper and also do not miss the good competitions.
It seems that you pay a lot of attention to the element of humor and metaphorical and ironic look in your works, apart from the fact that this approach of yours is accompanied by a serious look and analysis, and it is one of the turning points of your work? What is your opinion?
I have always tried to keep my works away from mere fantasies, with an audience-oriented theme and content, and engage the viewer's mind. Simplicity in implementation also completes this procedure.
Looking at your work, it is clear that you are dealing with a variety of topics in your work, and the variety of themes in your work is prominent. Perhaps that is why most of your work is for the newspaper. Is there a custom work or do you care about this variety of issues and are you concerned about it?
Incidentally, I do not work much for newspapers. The works that are published by me in the newspapers are independent works that are either created by themselves or to participate in a competition. I give the same things to the newspapers, and precisely because of this independence, they seem to have been welcomed. There may be a variety of issues in my work, which is also due to addressing global and human concerns, but I have had a single view and approach to them in terms of cartoon production.
Do your perspectives and approaches differ depending on each and every subject or range of work, or do you pursue a single intellectual, formal, and technical perspective? For example, you deal with serious everyday issues at work, but sometimes you challenge a topic with humor, but behind this humor, you are pursuing an even bitter look. Like a cartoon character in your cartoon cooks chicken in the kitchen but the birds are flying out the window! What is your analysis in this regard?
Clearly about that, it is quite clear that one of those migratory birds is in low flight and the one that is being cooked. Of course, it is not interesting for me to critique my work, but the nature of my work always has the backing of a bitter flip.
Apart from the discussion of content, approach and tone, what are your points in the field of form, technique and performance?
Basically, I consider the technique to serve the idea. This means that not every idea can be implemented with every technique. Personally, I like to avoid visual complexities and consider adhering to the principles of the visual arts in the performance of cartoons.
Most of the work I have seen of you in the newspapers has been Citizen. Tell us about your special attention to the cartoon and its current situation.
Without compliments, at present we do not have the right position of the Press Cartoon in the true sense of the word in the country's press. While the main source of this type of cartoon, of course, are newspapers. Cartoons of me that are published in Shahrvand newspaper are among the concept cartoons (Gag Cartoon) that are not related to political events and the day.
You said that your last foreign award was 2017, despite the fact that your work is good and will definitely be remarkable, why don't you attend the festivals a lot? Do you have any other work conflicts that hinder you in this area or is there a special reason other than this?
The main reason is laziness! I have to correct this procedure and participate in competitions more regularly.
In addition to cartoons and caricatures, most cartoonists pursue illustration, animation, design, and graphics. Do you follow other related arts besides cartoons and caricatures?
Yes, of course, because as the saying goes, nothing comes out of a cartoon. Graphics have been my main source of income for many years. Even academic and non-academic teaching, which I have been doing for twenty years, is only for personal interest in teaching and I do not look at it as a job.
In your opinion, where do cartoons and caricatures separate from each other and where do they join together?
Structurally, cartoon and caricature are two separate categories. Just as one is a cartoonist, one is not necessarily a caricaturist, and vice versa. But in many cases in the production of press cartoons, there is a need for the presence of caricatures in that cartoon, and we see this very much.
If you have something special to say?
In the true sense of the word, I wish and hope that the status of cartoons and caricatures in Iran will reach what it deserves, and this will not happen; Except with the formation of the Association of Cartoonists and Cartoonists, which has remained undecided for years. The situation of the press is not going well and the situation of the cartoon is also bad.
Thanks a lot dear Hamidreza mosayebi!
Here are some other cartoons by Hamidreza Mosayebi: