ArtDayMe : We take a closer look at an untitled diptych by Bita Vakili (Iranian, born 1973), which was sold at Christie’s Dubai on October 26, 2011, for $35,000, exceeding its estimated price of $15,000–20,000. This monumental diptych, created in 2010, measures 199.6 × 219.6 cm and was executed using oil paint, paper, sand, acrylic, ballpoint pen, glitter, thread, and fabric on canvas.

Aesthetically, this massive two-panel work is a striking example of mixed media painting, moving along the edge of painting, collage, and relief. 

The combination of organic, explosive colors, diverse textures, and dynamic movement across the canvas turns the work into a “visual living being.” The viewer’s gaze wanders among the twists of lines, the fluidity of pigments, and the explosion of forms—an intense, hypnotic sensory experience that engages the mind.

To achieve this, Bita Vakili employs a juxtaposition of contrasting and complementary materials: from the rough texture of sand to the shimmer of glitter; from the fluid, blended surface of oil paint to the sharp lines of pen, and the textile structures of thread and fabric. 

This convergence of materials creates a creative tension within the work’s structure—pushing it beyond painting and into a form of visual sculpture. The work possesses physical depth, with the materiality itself becoming a core component of its expressive language.

Despite its visual chaos, Vakili’s composition is precisely constructed. The relative symmetry of the two panels invites a dual reading—like a depiction of an inner conflict or the union of two opposing halves. The swirling motion of forms and the distribution of warm colors (red, orange, phosphorescent yellow) in tension with cooler, greyed areas, generate a powerful equilibrium. Though visually decentralized, the work has a magnetic pull, drawing the eye back repeatedly toward the center.

While categorized as abstract art, the painting's inner layers suggest quasi-human or organic forms—cells, veins, tissues, or even embryos. The semi-organic, bio-like visual language, combined with the untitled, textless presentation, leaves room for deeply personal and psychological interpretation. It feels like we are facing a map of the subconscious, or internal explosions—fragmenting memories or raw emotional surges.

The presence of distinct textures elevates the work beyond the canvas, giving it volumetric visual weight. Its space is neither linear nor perspectival, but rather immersive, timeless, and directionless, drawing the viewer into its depths. The richness of color and the uneven surfaces create a simultaneous tactile and visual experience.

_An Orchestra of Colors

The color palette in Bita Vakili’s painting deserves an article in its own right. It is one of the most essential components in defining the mood and structure of the work. Color here is not decorative—it is the primary language of expression. Vakili masterfully orchestrates a wide spectrum of tones:

• Warm Colors: Fiery reds, searing oranges, and radiant yellows erupt in various parts of the painting. These hues convey excitement, violence, energy, and emotional eruption.

• Cool and Grey Tones: In central and lower zones, murky blues, misty greys, and black bring a somber balance and bitter calm. These areas evoke contemplation, silence, and even melancholy.

• Neutrals and Flesh-Like Tones: Beige, cream, and soft pinks in some parts evoke human bodies or living organisms, reinforcing the organic texture of the work.

• Metallic Layers: The presence of glitter and silvery reflections adds another expressive dimension—suggesting frozen time or light penetrating matter.

A deeper reading of the color scheme reveals more:

The reds and oranges suggest emotional eruptions, anxiety, or even internal violence—acting like wounds or boiling points.

Blues and greys speak to introspection, sadness, and dreamlike states.

Phosphorescent yellows and sludge-like greens hint at instability, transformation, or psychological threat.

Misty pinks soften the atmosphere but, placed beside darker tones, take on ambiguous meanings—hovering between tenderness and unrest.

Colors are distributed organically and non-geometrically, much like the flow of liquid or molten material. Simultaneous contrasts—warm beside cool, dark next to bright, matte against shiny—create visual tension and spatial depth. Each color functions like an individual “voice,” making the painting feel like an orchestra of color tones. These colors are not static but in motion, capturing a moment of chemical or biological transformation.

This sense of motion is produced through rapid shifts in color temperature, soft transitions between masses, and internal flows of pigment. The color palette becomes a bold blend of emotional, psychological, organic, and philosophical tones. Here, color is not merely aesthetic—it is narrative and psychological. The tension between vibrant and muted tones acts as an inner conflict between mind and body, as if the palette itself were a portrait of the artist’s unconscious.

A Multi-Sensory, Multi-Media Experience Bita Vakili’s diptych is not just a demonstration of the technical and aesthetic abilities of a contemporary Iranian painter—it offers a multi-sensory, interdisciplinary, and instinctive experience. This painting is the result of a deeply personal and emotional outpouring by an artist who breaks from traditional boundaries to construct a world that is chaotic, tense, and yet profoundly poetic.

_Bita Vakili in the Art Market

Bita Vakili began the new calendar year by showcasing her works at art fairs in Frankfurt and Moscow. She has had six notable sales at Christie’s:

• On April 18, 2012, her piece Dreaming of New York sold for $45,000, setting a personal record.

• On October 21, 2014, her untitled painting known as Oil Highway sold for $40,000.

• In October 2011, the untitled diptych featured in this article fetched $35,000.

• In October 2010, a painting titled This Is Me was sold for $31,000.

• In April 2011, another untitled piece went for $26,000.

• And on April 27, 2010, yet another untitled work was auctioned at $25,000.

Vakili’s paintings have appeared in ten editions of the Tehran Auction, with 100% of her works sold in every edition. Her latest record was set in July 2024, at the 20th Tehran Auction, where a triptych from her Garden of History series was sold for 550 million Toman.

Her works are held in prominent collections, including Bank Pasargad, Bank Gardeshgari, and prestigious private collections such as the Farjam Foundation in Dubai, the Raha Gallery Collection by Mohammadreza Ghaemmaghami, the late Professor Firouz Naderi’s collection, and the Jalil Khosroshahi Collection, among others.