Farhad Ostovani, Study for Goldberg Variations (1996–1997), watercolor and ink on paper, 4 1/8 × 12 1/2″ (The Nelson-Atkins Museum of Art. gift of the artist)
Johann Sebastian Bach’s Goldberg Variations have entranced pianists and audiences alike for nearly 300 years, but the work also inspired Iranian-born artist Farhad Ostovani to embark on a large-scale study of delicate plant imagery.
Striving to depict his auditory experience of both melody and emptiness, Ostovani (who currently lives in France), began
this study with the stems and leaves of rose plants (not, notably, the more audacious blooms), while on an artists’ retreat in California.
“He is an artist’s artist,” said Kimberly Masteller, curator of South and Southeast Asian art at The Nelson-Atkins Museum of Art. “He is methodical, exploring every aspect of his chosen subject. And Farhad has such mastery of ink, chalk, and graphite — the traditional materials of an artist working on paper — at this point in his career, these media are practically an extension of him.”
Bach published these variations in 1741. There are 30 of them, based on the Aria that opens and closes the piece. Though there are more than 200 recordings of the work, Ostovani listened to a specific recording by Russian pianist Tatiana Nikolayeva, recorded in 1992 and released by Hyperion/Universal Music. She had played the piece countless times and recorded it four times previously, but this version was recorded the year before her death.
“This particular recording stands out for its unusually spare performance. Farhad was drawn to its emptiness, which he translated into the blank paper between the plant forms in his Variations,” said Masteller.
Though he began the process in 1994, Ostovani put the work aside when his father became sick and died. When he returned to the work the next year, the plants had decayed, so instead of using the actual plant material in his work, he turned to ink, chalk, print and brush to depict it.
While processing his father’s death, he was particularly affected by Nikolayeva’s Variation No. 25, which is spare and melancholic. Ostovani painted preparatory studies of the dead plants, which became Variation No. 25, the first work in this series.
The exhibition is dominated by Aria, a grid of 30 panels, featuring painted, printed and drawn leaves of different shapes, assembled as collages on the panels.
Because this specific recording is essential to Ostovani’s work, the team at the Nelson-Atkins wanted to incorporate it into the visitors’ experience. The gallery space is in the older part of the museum, so there was no existing sound system. The team tested out different speakers and locations to find the right balance to enhance the viewing experience. There is also a QR code so visitors can listen to the recording on their mobile phone.
“Farhad’s Variations demonstrates the transformative power of art and presents us with a body of work that evokes nature, communicates deeply personal experiences, and embodies emotions,” said Masteller. “This project has become a retreat where lovers of both music and of the visual arts can come and experience them in dialogue.”
Ostovani will come to the Nelson-Atkins in the fall to deliver a lecture on his work. The museum is also working to present performances in association with the exhibition.
“Farhad Ostovani: Goldberg Variations” continues at The Nelson-Atkins Museum of Art, 4525 Oak. St. through Feb. 28, 2027. Hours are 10 a.m. to 5 p.m. Monday, Saturday and Sunday and 10 a.m. to 9 p.m. Thursday and Friday. For more information, 816.751.1278 or www.nelson-atkins.org.
“Between Image and Sound: Farhad Ostovani,” a piano performance and conversation in conjunction with the exhibition, will be held from 6 to 7:30 p.m. Oct. 29 in Atkins Auditorium. For more information and tickets, cart.nelson-atkins.org/52905/53350
