Farhad Moezzi: artist insight

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Wednesday, December 2, 2009

Introduction

Farhad Moezzi created his art in California from the mid 1950's until his death in 1974. Born in another country, unfamiliar with all the nuances of English, Farhad began to pursue art as a means of communication. Unfettered by "burr" for "bear," his art commented on the observations and aesthetics he beheld.

"In art I found my answer. For here was a language which could speak and encompass all nations, all peoples -- a language that could reach where words could not."

-- quote from Farhad Moezzi

Farhad began creating fine art when he was about 30 years old. His early works included small metal sculpture, jewelry, and ceramics.

Over the course of the next 25 years he experimented with a variety of mediums, but at his stride, he was most happy working with metal to create sculpture, much of it at a large scale. In 1968, he created "the foundry" in his studio for creating cast metal pieces, which often showed up as focal points in his columns.

Farhad was an explorer, artist, teacher, husband, and my Dad. I had only twelve years with him, as he died fairly young. I know him through our time together, through his art, through those who knew him, and through an understanding I gain as the years come in my life.

This website is functioning as "concept creator" for a book* I am working on of his sculpture. A two sentence conversation near the time of his death was had between my Dad and Mom, and I aim to help see that conversation to the desired outcome.

This site is arranged in chronological order for the most part. Farhad would create in various mediums simultaneously, and of course, he would build on his artistic visions with each piece. His techniques were mainly self taught, with his travels serving both as exposure to different cultures, but also putting him in contact with other artists and craftspeople with different backgrounds.

I know my words would fall short in describing the essence of my father. I can give you some facts, some images, and some quotes my mother captured. The main part of communication of Farhad with you shall be his art.

*(I printed the book in 2010....book format has a different feeling than this blog of course, with book layout perhaps easier to peruse....plus I edited more in the book, still plenty, but not as many pictures as on this blog).

Biography

"Art is an inseparable part of my life, and most of my waking hours are spent either teaching art or working in my studio, which takes up the better part of the first floor of our home. In one large room is my equipment for sculpture (welding apparatus, power tools, etc.) and jewelry. In the other room are my ceramic kick wheel, electric wheel, and ceramic necessities. Outside my home I have erected a small building to house my large ceramic kiln."

-Farhad Moezzi, from 1964 autobiography in pursuit of fellowship

I first met the art of my father in my home. My cereal bowl, cookie jar, and cup were of clay, created by his hand. The necklaces that my Mom wore were of metal, fashioned by my Dad. I would venture downstairs to his studio, and see the sparks fly from the welding torch, my Dad's eyes bespectacled by his welding glasses. I felt the heat, calmness, and weight of the kiln, and had mock tea parties on the roof of the kiln building when it was not in use. The kick wheel was our merry-go-round when the fair was not in town. Around the house would be a candle holder, vase, or sculpture, all made by Dad. My sisters and I would draw on a table he created for us, specifically so we could sit on the ground by the picture window of our living room. We would go to galleries, show openings and witness "Art in Action" sessions with Dad. Art was all around, and as my father claimed, was an inseparable part of our lives.

Farhad Moezzi was born in Persia on 22 June, 1920. For some time, his birth date was marked at 22 February, the day his ship docked in New York, upon his arrival to the United States in 1948.

He had thus far lived a charmed life. Of the Qajar dynasty, his family lived comfortably in exile in Damghan, about 600 km east of Tehran when Farhad was young. I heard tales of riding his motorcycle in his house, expeditions in the countryside, teasing scorpions, replacing the oil in the street lamps with some more "organic" amber liquid, and the like. My sister related me this story that our uncle told her, about an episode they shared as young boys:

"Firouz and Dad had this plan; they made a noose, laid it on the doorstep (I think) and covered it with dirt and dung and whatever. They decided they were going to get whoever it was that walked by. They peered through a keyhole and decided to do it, even though it was an Imam: and bang, he fell! They hid on the roof for a whole day, because everyone wanted to catch whoever did that to the Imam. Maman was very angry and thought it was really bad, but Papa liked it, since he had little reverence for the politics/religion. It is more fun when Firouz tells it."

--Mithra Moezzi from 1996 email to Kambia

With the means to elite, but the sensibilities to be among, Farhad was curious and explorative.

(Biography continued on below post)

Biography, continued

Click on pictures to enlarge for continuation of biography.

The Shy One -- Wooden Bust

This wooden bust titled "The Shy One" was given by Farhad to Patricia shortly before they were married in 1952. He told Patricia that it represented her.

Throughout my father's life, he relied on Mom to take his words to print for various publications, grants, sabbaticals, and etcetera. While some of what he said was written verbatim, she deeply understood him, and would add her "polish" to his meaning via written medium. Patricia organized countless shows and gallery exhibitions.

Patricia not only did the "behind the scenes" of the "business of art" but was also instrumental in keeping the household and the children happy, allowing Farhad the freedom to "do his art." This is a small paragraph, but the content is an important dynamic in terms of support of the artist.

Jewelry -- Farhad Statement

As for jewelry, here is a short statement Farhad made about working with the medium:

"Though my main interest is sculpture, I do enjoy working in silver. It allows me a certain amount of expression and acquaints me with the joys of pocket money as well. Though the size of my work must necessarily be small, my jewelry tends to retain sculptural quality. My designs are rarely geometrical. When I sit down to make a piece of jewelry, I must keep in mind that jewelry should enhance one's appearance. I generally begin by thinking of some natural or human form -- waves, stones, etc (the variety is infinite). In my mind I combine that idea with my knowledge of design, and when I have a form that seems satisfactory for execution, I usually make a sketch. When actually making the piece, I almost invariably deviate in some way from my original drawing.

In jewelry, I am necessarily limited by size and necessity to make something attractive. These limitations reduce the satisfaction that I derive from my work. I do, of course, retain the basic concept of my design. But, I am never as happy making a piece of jewelry for a specific purpose or person as I am working with the silver to satisfy my own creative curiosity."

Farhad fashioned jewelry in both silver and bronze.

Jewelry Sketches

Summer Session SF State College (Modesto campus)

aug 1 1957 the modesto bee (seem to have stopped archive service).

Sculpture -- "Protection"

Here is a statement Farhad made in reference to a sculpture he made early in his artwork: Creation of sculpture I call "Protection" "One rainy day I witnessed a young mother with her small baby in her arms slip and fall while crossing the street. She got up so quickly, no one had the time to assist her. Throughout the incident, the baby remained enfolded in the mother's arms, protected from harm. In my mind, I likened the baby to a seed. In nature, each seed has some sort of protections, and the basic shape of all seeds is similar. When I was in India, I became acquainted with the theory held by some that life began as a seed. Most human beings, consciously or unconsciously, have with themselves the desire to protect life (crossed out "life without love is nothing...life, love and protection become almost one.") In many parts of the world, a soldier with a bayonet is a symbol of protection. All these related thoughts came to me that afternoon, sparked by the mother's fall, and they provided the central idea that motivated me to create, that evening, the sculpture illustrated below."

Farhad Moezzi, on teaching art, from IJ article. Images from San Rafael High School -early 1960s (added in 2026)

Exert from Marin Independent Journal article of 1964 (no byline found yet):

"For the past 10 years Moezzi's skill as a teacher as well as an artist is well known to the hundreds of students he has taught at San Rafael High School.

"I am very interested in helping young people become creative," the educator says in perfect English. "Creativity increases value as we move towards the conformity of mass production. I believe anyone can create and to create you can do anything. We are all Gods, really. How do I know just what or how much I can create unless I try? God made each one of us, whether you believe in Jesus Christ, or our prophet Mohammed; your Bible or our Koran. What is the difference? God created us all and we, too, can create."

"You can do anything," this eastern-western philosopher insists.

Moezzi says he realized it is entirely possible that a student can go through high school taking only one course in art or none at all. If they enter his classes, he tries to give them the greatest possible creative experience.

"I expect them to create; not copy. I try to supply them with basic techniques which will be helpful all their lives no matter what occupations they follow," he says.

Students under this teacher can learn at least 10 casting techniques, including bronze casting, the formation of clay bodies, glazing and fine art jewelry-making. He is proud of the facilities at the school believing they equal or surpass many colleges in equipment."

Note: These pictures added in May 2026. Believe they are from his jewelry class at San Rafael High School...early 1960s. I found some film rolls, had this set digitalized.

Moezzi Correlates Comtemporary Art /Archeology Article

Exerts from above article in San Rafael City Schools Bulletin, 1963:

"Moezzi's interest was archaeology when he was graduated from University of Tehran in his native Iran in 1942. He admits that his first excavation was commercial, rather than scientific, venture but the results took him to India and the University of New Delhi to study the ancient writings of Sanskrit and Avestan and later to the University of London."

"The fields of art and archaeology are closely related, " according to Moezzi. "Both are work within an unlimited facility and environment, seeking what is not known to man."

This seeking is part of Moezzi's approach to teaching. "My prime interest right now," he explained "is simplifying techniques, like casting metal, so that they can be utilized in the classroom by all students."

"You Can Do Anything" Newspaper Article, Marin Independent Journal

Playhouse

Dad designed and built us a large size playhouse in the back yard. I haven't found a photograph of it yet, but I think I will be able uncover one. I was just now thumbing through a sketchbook, looking for a blank sheet for a pencil drawing of my own, I found the sketch for the playhouse. I remember that around the interior ceiling, just before it went to the roof pitch, Dad had put up a wooden panels with these words carved in both Farsi and English:

"And let this house dream, and dreaming, leave town for countryside."

The picture in the center of this sketch represents the playhouse. It had decks all around, and we had much fun playing in and around.

Studio at Home

Gallery showing, 1967, Tiburon, California

Monday, November 30, 2009

College Of Marin Classroom review

Farhad taught an Advanced Sculpture night school class at College of Marin from 1965-1966, while he was teaching at San Rafael High School. In April of 1966, he was hired as an Art Instructor full-time for College of Marin, becoming Chairman of the Art Department in 1968.

The above letter reviewing Farhad's class as of November 1966 -- nice praise and humorous last line. (click on picture to enlarge)

Sunday, November 29, 2009

Letter from a Mom Regarding Inspiration of Her Son

Farhad sold a sculpture to a young boy during the Marin Art and Garden Fair in 1970. His mother wrote a note to Farhad a few days later:

"Dear Mr. Moezzi,

Last Sunday you gave my son a handsome gift by "selling" him your sculpture for so nominal a fee. I thanked you then because I realized your gesture was considerably more gift than sale.

I didn't realize how much I had to thank you for and perhaps telling you what it led to will reward you in the sincere way in which is has developed. Andy remembered your every gesture and every sequence in assembling the piece. He plagued me with questions of "When can I do that?," "How old do I have to be?" etc. Finally, because I couldn't think of anything else he could handle I gave him some bars of Parowax and a candle and said "Here, while I'm in the room, light the candle and try any idea that comes into your mind."

He made what is to me (his mother) a beautiful sculpture. While he worked he imitated you in gesture and expression in a way that was uncanny. When he was done with his "sculpture" he painted it by dripping crayons on to it.

I think you gave him a gift beyond words -- certainly beyond what I can express. I thank you for that."

Sincerely,

Ann Reiss

Farhad, Notes to Self

Pouring Metal

Farhad Moezzi and Eric Ebert conducting a metal pour at Farhad's studio in Northgate Industrial Park, San Rafael, California. Eric was a friend and a collegue at College of Marin. The foundry in this studio was created in 1968, allowing Farhad to create castings in bronze and _____ of forms he created from other materials.

One photo shows Farhad at table, having soup and salad in his studio. We often joined him there for lunch, all of us kids playing around the surrounding area, then having a bowl soup and bread from a simmering pot on the burner. Farhad was an passionate artist, always loving to be in his studio, but, also figured out ways to incorporate his family.

Often we would go to San Francisco to visit a museum or gallery, and have a side trip to Chinatown, each daughter receiving one dollar to buy a special treasure. Tea sets, beading kits, "magic" disappearing coin trick, etc -- we can all recall a particular memory from a trip, in addition to the art we saw or the multi colored elevator shaft at the "old" San Francisco Modern Museum.

Saturday, November 28, 2009

Studio -- Northgate

Wednesday, October 28, 2009

deYoung Press Release -- "Ever Shining"

From Farhad Moezzi showing at deYoung:

"Throughout the year's Moezzi's work has evolved into the austerely elegant sculpture in this exhibition. Many of the pieces feature small, jewel-like casts set between more massive shapes of steel. According to Moezzi they symbolize "man's inner self, ever confined...yet ever shining."

put deyoung show commentary here

Farhad Moezzi