Hushidar Mortezaie was born in Tehran and immigrated to the Bay Area in 1975. He moved to NYC in 1994, living there for 10 years. He now resides in California, living between Los Angeles and the Bay Area.
Mortezaie’s discourse is a mixed media of collage, painting, illustration, installation art, and primarily fashion, which together fabricates a head to toe cultural critique that negates and celebrates branding along with the satire of pop culture and mass consumption.
During the nineties, Mortezaie’s role as a buyer/curator for Patricia Field helped lead to the Rave and Japanese Anime phenomenon in the U.S, with its Hello Kitty repercussions and virtual anime effects
that reverberate today. Hushidar's collaboration with Michael Sears in their NY boutique gallery, Sears and Robot, was a pop pun on American commercial retail corporations that translated popular culture into pop couture fashion and art. These works spanned from a Ronald McDonald pastiche worn by supermodel Linda Evangelista (in Italian Vogue) to Iranian slogan and Persian minaiture handpainted high fashion worn by Sarah Jessica Parker (in Sex and the City) to collage print tops on Brad Pitt (in the motion picture Fight Club). Singers like Madonna, Britney Spears, and Beyonce transferred Hushidar's visual messages to the masses.
Hushidar’s work prompted the rise of Iranian calligraphy on textiles and Middle Eastern style in global fashion through his pioneer celebration of his heritage at a time when most hid their identity in a post 9/11 world filled with prejudice. Selections of his work include “Welcome” at the Kashya Hildebrand Gallery in NYC and a multi-media study of style as empowerment among Iranian youth titled “75%” for Bidoun magazine. His homage to those children of the Iranian Renaissance, a chic boutique at LA’s Morono Kiang Gallery, resulted in an interview with Madeleine Brand on “All Things Considered” while the treasure trove of his father’s collection of periodicals and books from the Iranian students’ movements inspired his installation “Dozd Baazaar," a commentary on Orientalism, revolution, and the artifice of capitalism at Southern Exposure SF as apart of the ongoing Fabrications Bazaar group show in 2014. Hushidar's Persian Pop gown and matching accessories were commissioned for the traveling Vinyl Icons exhibit in the UK, celebrating the musical and design innovators of the pre-Revolution 60s and 70s culture of Iran. His focus in defying convention through the use of stereotype as armor, ornamentation, and packaging are constants that have evolved but are mainstays in his representational and decorative conceptual art.