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Special Interview with Majid Salehi-Iran

Special Interview with Majid Salehi-Iran

Majid Salehi was born in 1980 and has had major and significant activities as an animator, graphic artist, illustrator, writer, filmmaker, photographer and cartoonist. Salehi has more than 30 years of experience in the field of graphics and illustration in various presses and media, including: Gol Agha, Chelcheragh, Kayhan Caricature Magazines, Success, Knowledge, Green Family, Green Family Peace, Health, Taxi, Bus, Culinary, He has had clues, mobile phones, Mashreqieh, a group of student growth magazines and Iran Cartoon magazine. He has also collaborated with Hamshahri, Etemad and Abrar newspapers and at the same time with eighteen publications from Hamshahri Magazines

Please tell us about your recent work?
Recently, I created several books for the children's illustration section, some of which have been published and the rest are in print. In addition, I worked on a collection of children's stories that I wrote and illustrated. Much of the work went on, but because the final product needed a series of complementary tools to produce, the final part of the work has now stopped with the process introduced by Corona. I am currently working on the branding of an agricultural product package that is going through the final stages and entering the market.



Usually all cartoon children have had an experience of animation and filmmaking between their works, how did you experience animation and filmmaking?

In 1997, I made my first short film with my friends. In 2000, together with my friends, we started the Young Cinema Association. We took the work very seriously and I wrote the association's articles of association. We started film review meetings, which I was responsible for performing and producing content. At that time, there was no access to the Internet like now, and all the resources and research came to me from the library or books. We invited critics and made several short films. In 2004, I started my collaboration with Chelcheragh magazine and with "Bozorgmehr" Hosseinpour "I got acquainted. I started a short animated series with Bozorgmehr. Our work started in an office of the Saba collection. At the beginning of the production of these short animations, it was Bozorgmehr, I was and dear Hadi Moeini. The work started with love and passion. The whole work was two-dimensional and with light box and paper and … Bozorgmehr was the director and he played the key, I was the assistant director and I completed the middle plans and Hadi Moeini was in charge of the software and output of the work. The work started so hard that it was not enough time to stay in the office. And I set up a mobile lightbox to work on projects late at home. I remember that it was the 2006 World Cup and we had prepared a work for the national team, which was broadcast from the stadium and on TV after Iran's game with the opposing team, and more projects were added to our work, as well as the number of our team increased. .

The titles of the collections we worked on were: football players, music professors, five minutes in different places, poetry night, is art with Iranians? Lily and Majnoon, a Peter and a few fingers, Ferdowsi Square, two men and…

There was also a short work about supporting children with cancer, which received a lot of attention from the domestic and foreign media. I was part of the directing team, and the storyboard was with me.

The building blocks of the team were:

Director and Editor: Mehdi Irvani

Author: Pegah Emami

Director of Photography: Ramtin Firoozian

Storyboard: Majid Salehi


Some of your illustrations are subtly sided with cartoons, such as "Boss" and "One day death will finally come" or "Get old together". They are like "regret" which is an ax on which a flower has grown, or "tool of destruction" which is a knife or "fiery rage". How do you create these narrow borders and what do you know about the distinguishing features of these illustrations from their graphic or cartoon nature?

This is the path that every person in every profession has to take to reach a so-called personal signature. Is different.

Staying in a style and a method, may be appropriate for the market now that this path is more defined by gallery owners and the like who put the artist in a specific and predetermined context.

Some of your other works, which are also very beautiful, can be considered as concept cartoons, such as the works of "Pawel Kuczynski" or "Paul Dalbonte". Pawel Kuczynski's influence is evident in some of your work, including the work of "regret" and especially the work of "enlightenment." What is your opinion on this? Have you been influenced by these artists in such works of yours?

The subconscious world is an endless and boundless world that does not fit into any framework. Silence is definitely the gateway to this world, the totality of which is still unknown. What human knowledge has achieved so far in all its productions without copying are the inevitable similarities. For me, copying in any format is a futile way, the bottom of which is to repeat that person and that look, and it has been said once. We only live in this format once and for all, so it is a pity to repeat what has been done as the final product.


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