Partin Bastan

Sculptor

Professional Sculptor Member of Iranian sculptors association

Experience

Awards

SPECIAL COMMENDATION FROM THE JURY Florence Biennale 2023

PUBLIC ART & PERMANENT INSTALLATIONS
Terje Nilsen — Portrait sculpture, City Nord, Bodø, Norway (2025)
Wings of Democracy — Iron sculpture, 3m height , Bodø City Hall, Bodø, Norway (2024)
Mahsa Amini — Bronze sculpture, Install in Palazzo Guadagni Strozzi Sacrati (Regional Government of Tuscany), Florence, Italy (2024)
Mother of Ocean — Stone sculpture, Tehran, Iran (2022)
Vincent van Gogh — Tehran, Iran (2021)
Leonardo da Vinci — Tehran, Iran (2020)
Peter Paul Rubens — Tehran, Iran (2019)
Kamal-ol-Molk — Tehran, Iran (2018)
Cyrus the Great — Tehran, Iran (2018)
PROFESSIONAL EXPERIENCE
Independent Sculptor

Iran, Italy and Norway | 2006–Present

Founder, Artistic Director and Sculpture Instructor

Partin Bastan Sculpture Studio & Gallery, Tajrish, Tehran, Iran | 2014–2023

Teaching, Workshops & Community arts

Partin Bastan Sculpture Studio & Gallery, Tajrish, Tehran, Iran | 2014–present

Private Instructor of Sculpture, Figurative Drawing and Digital Sculpting

Iran and Norway | 2010–Present

Digital Artist – Self-employed

Iran | 2008–2014

Details

  • Instagram: PartinBastan
  • Education:
    Self taught Artist,
    Equivalent Bachelor's Degree in Sculpture–Iran Officially assessed by Ministry of Culture and Guidance
    Human Anatomy (Cadaver Dissection) Tehran University of Medical Sciences, Iran | 2016

About Me

Partin Bastan is an Iranian artist based in Norway whose practice centers on figurative sculpture and the psychological dimensions of the human figure. His relationship with sculpture began in childhood through working alongside his father, a blacksmith. There, he was introduced to iron, tools, welding, and the physical transformation of materials, an early experience that shaped his enduring relationship with hard materials and the process of making.

After exploring digital sculpture and image-making, he returned to hand-built sculpture, finding a more direct means of artistic expression through materials such as iron and stone. His sustained interest in human and animal anatomy has become fundamental to the development of his figurative language. His figures move beyond physical representation through distortion, exaggeration, and transformation of form, addressing psychological and emotional states that cannot be easily seen or articulated. Beginning with imagined forms, he uses material to give physical presence to states such as tension, vulnerability, isolation, and the complexity of inner experience. In his practice, the body is not merely a subject of representation but a means of revealing what remains unseen. His expressionistic figurative sculptures occupy the space between recognizable human form and psychological transformation.

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