As an Iranian artist, Nuur engages in his work with fundamental questions of perception. He makes the invisible visible, and hones the consciousness for the small, nondescript things and processes in the world. The way in which Navid Nuur relates to material, the space around him and his observations therein, can almost be regarded as devout. The attention to detail and the careful fine-tuning of the various elements of a work or exhibition make the audience part of an ‘inner’ world.
What Nuur has in common with the conceptual artists from the sixties is the relation between concept and form. Form for him, however, is not necessarily the result of the idea, but materializes through a subjective program of requirements or rules in which intuition has the upper hand. He applies concepts that often relate to a temporary in-between state that places his work between the audience and an often abstract phenomenon, such as light, energy, air, or ‘rest space’. Nuur’s form-language and meaning are therefore principally purely process-oriented.