R O S H A N   H O U S H M A N D     
Roshan Houshmand’s abstract
muted oils resonate with painterly
nuances of opaline delicacy. Strewn
with a welter of iconic shapes and
forms, and rendered in chromatic

tones of faded glory, these convey
a sense of portentous ruins, like
reliquary frescoes from the ancient
religious mystery.  Houshmand’s
cosmology is subtly female, softly
evocative and almost hermetically
abstract. Indeed, in this transcendent
series of abstract paintings,
Houshmand seems a kind of recording
angel of lost and faded mysteries.

Eric Bookhardt
Gambit, New Orleans
1990
                                                     
Roshan Houshmand is an Iranian/American artist and educator who

was born in the Philippines  in 1961, raised there and Iran until 1976.
Her BA is from Bennington College (1982) in Vermont, and her MA
and MFA are from Dominican University’s Rosary College Graduate
School of Fine Arts in Florence, Italy (1983, 84).  A life-long learner,
Roshan studied  extensively in NYC with Julio Alpuy of the Taller of
Joaquin Torres Garcia (Founder of Universal  Constructivism) and
most recently at Schechen Monastery’s Tsering Art School in  Nepal.

Houshmand’s work is exhibited and collected internationally and was

recently featured in Italia  Docet/Laboratorium, a collateral event of the
56th Venice Biennale and in the exhibition “21st Century American
Women Artists” at the US Mission to NATO in Brussels, Belgium. She
received the Special Merit Recognition Award for the Representation
of Scientific/Mathematical Principle and Phenomena at “SMARTART” at
The Next Big Idea in Los Alamos, NM for her painting, “Theoretical Event”.  
Roshan has received numerous awards and grants from other sponsors
including NYSCA and NYFA.  She is an adjunct painting and art appreciation
instructor at SUNY Delhi in upstate NY and an online adjunct drawing
instructor with Southern New Hampshire University. Roshan currently
lives and works in Andes, NY.
All material on this site is Copyrighted by Roshan Houshmand.
Member of the Artist's Rights Society.
Photo by Jackie Parslow
Roshan Houshmand's paintings are melodic fusions of the eastern and
western traditions. And here lies the vigor of her art; to make the east a
metaphor of the west and vice versa. Eastern textile designs, subtlest of
mutations, are transformed dramatically to assume familiar shapes. Familiar
only because the images speak with the appropriate elan for the western context
of experience. The mood evoked is a perfect and harmonious mixture of the
inexplicable mystery of Persian gardens and the transcendent spirituality of
the western abstraction. All attained in the most original of schemes and with
eclecticism sedulously proscribed.  Never before have these dichotomous spirits
been so contiguous and their boundaries so inseparably fused.

Abbas Daneshvari, PhD   

2004

Roshan Houshmand’s paintings clearly indicate her interest in (these)
eternal issues.  It is the world of the mind and spirit rather than of the
physical and material.  The paintings are freely created with a field full of
paint and symbols. The surface is more of a tablet for notation and evocation
than for any concern with perspective or didactics.  The free paint application
creates a misty, dreamlike environment that allows movement and a certain
vagueness.  One is tempted to interpret this perception as a magical surface
that contains the embodiment of ritual, dream and mystery.  They are so
represented that the concept of voodoo readily comes to mind.  From an
art historical perspective, early Rothko, and particularly Gottlieb, paintings
present a painted surface and symbols which are more structured and
controlled.  One is tempted to read their work like hieroglyphics, whereas
here one takes Roshan’s work as a totality of parts which exist within the
context or the work rather than on their own.

Roger L. Selby
Boca Raton Museum of Art
1990
"The painting Hamsa is something we have come to treasure as we light our
sabbath candles beneath it, every friday night, and my four kids have really
become attached to it."  

A. Haney  2017