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Mohammadreza Yazdi, the sculptor who designed and created “Mithra’s Bond”, explained during the ceremony:
“My new series of sculptures began about four years ago through studying the movements of reactive plants. I wanted to understand how these movements emerge in nature and what kind of inner intelligence shapes them. After meeting Mojtaba Roudmand, the idea for this sculpture took form.”
He added:
“Our cities also need such artistic works—elements that distinguish public spaces. That is the true mission of sculpture.”
Referring to the ancient Mehregan Festival—a celebration of gratitude—Yazdi stated:
“In the design of this work, I embedded two central concepts: love and commitment and thankfulness. It was also necessary to infuse the sculpture with a spirit expressing day and night. Moreover, the flower’s design integrates interaction and connection with its surrounding environment.”
Abbas Majidi, sculptor and university professor, addressed the discussion over whether “Mithra’s Bond” qualifies as a sculpture:
“The assumption that this piece is not a sculpture is completely mistaken, as it fully aligns with the general definitions of sculpture. Only a traditional perspective—limited to figurative and classical forms—would deny that. In contemporary practice, sculpture encompasses a broad range of abstract and conceptual approaches. Readymades and process-based works have significant importance. This piece, faithful to form and spatial relationship while grounded in concept, is entirely defensible and consistent with the essence of sculpture as a three-dimensional expressive form.”
He emphasized:
“Today, beyond focusing solely on material authenticity, sculpture regards form and idea as tangible realities. This work is defensible not only conceptually but also spatially—it interacts dynamically with its environment. While many postmodern works use only light and are still called sculptures, ‘Mithra’s Bond’ possesses clear form, spatial engagement, and perceptible positive and negative space that viewers can walk around.”
Ali Ettedad, artist and art researcher, commented on the work’s interactive nature and its impact on urban space:
“Dynamic interaction between an artwork and its surroundings isn’t new—it’s been around for over a century—but in our country, it still feels fresh and underdeveloped. In real urban settings, such works should occupy a central position. Before cities or towns are even built, a symbolic element should be envisioned to give identity to the space—much like ancient cities that formed around a mosque or temple.”
He continued:
“This work isn’t interactive in the strict sense—it doesn’t directly respond to human presence. Instead, it operates through coded movement synchronized with time.”
Zand Harirchi, architect and artist, concluded:
“Modern urban life is ever-evolving, and artistic events such as this unveiling emerge from that gradual process of growth and creativity. This sculpture stands as an enduring symbol of that spirit.”
