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

Roshan Houshmand is an American artist who was raised in Iran and the
Philippines.  Her BA is from Bennington College and her MA and MFA are
from Dominican University’s Rosary College Graduate School of Fine Arts in
Florence, Italy.  Roshan’s work is exhibited and collected in Europe and the
US. She has received grants from organizations including NYSCA, The
Michelle MacNaught Foundation, The O'Connor Foundation, NYFA and the
US Department of State Art in Embassies Program for the exhibition “21st
Century American Women Artists” at the US Mission to NATO in Brussels,
Belgium.  Roshan received Special Merit Recognition for the Representation
of Scientific/Mathematical Principle/Phenomena at “The Next Big Idea
Festival” SMART Contest in Los Alamos, NM. In 2015 her work was
presented at Italia Docet/Laboratorium, a Collateral Event of the 56th
International Venice Biennale, at Palazzo Barbarigo in Venice, Italy. Other
major collective exhibitions include “Totem” at the Boca Raton Museum of Art
in Florida, “Evolving Perceptions” at the National Press Club in Washington,
D.C., and Rene Metras Gallery in Barcelona, Spain. She lives in Andes, NY
and teaches painting and art appreciation at SUNY Delhi, NY and is very
active in community arts projects with the local schools.


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

Please contact Roshan Houshmand directly if you would like to visit her studio.
"Of all the artists I know, Roshan Houshmand is the only one whose
paintings are both in my house and in my office on campus."
M. Sagan  2016
(The painting) "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