Farhad Moezzi: early works

Plaster/Clay Busts

San Francisco State College, were Farhad took classes. In second picture man in foreground wearing glasses is Seymour, Farhad's first sculpture instructor, though he did not instruct in metals. Farhad is in rear of class in white short sleeve sweater.

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.

Wood Sculpture

Paintings, in situ

Farhad made this specifically for "over the sofa" art for his in-laws -- "on demand art" was certainly an exception!

The above photo was taken recently in his original studio at his residence. This original studio looked quite different than current photo, cement walls and floor, welding tanks and assorted equipment for sculpture, though the fireplace remains the same. The room was converted to accommodate growing family, with Farhad setting up his studio in Northgate in 1967 (??).

Metal -- small figure

Enamel -- small bowl, picture

Leather -- wallet

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.