Review of Mohammad Noureddini: Unstable
Review of Mohammad Noureddini – Unstable, Cambridge Artspace September 6/7th 2025
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by Jill Eastland
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Mohammad Noureddini recently held a solo show at Cambridge Artworks, which I was fortunate to see. His work constituted an impressively intelligent and emotional investigation of human interactions, sometimes depicting figures seemingly cooperating, but with elements of control and power. They brought to mind the cruelties of war and oppression. I found it affecting and thought provoking, and found myself asking internal philosophical questions about the nature of truth and the meaning of our lives.
Isaam Korbaj visited the exhibition at the same time as me and praised the work. He said that he particularly admired the sketches, which showed great expressive strength and were hung as an intermeshed grouping, simply with pins, transgressing the boundaries of conventional art and creating greater impact.
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Some of the compositions and skilful details were reminiscent of Goya’s Disasters of War and other images of lined up bodies, and of Henry Moore’s sketches of people sheltering in the London Underground during World War II.
Here at Artworks, we are fortunate that Mohammad will be exhibiting with us again as part of the group show, Refugees Welcome – 17th to 19th October.
​​EXHIBITION: UNSTABLE Mohammad Noureddini
​in association with Counterpoints Arts
6 - 7 September
10am - 5pm Saturday and Sunday
Unstable is an exhibition of drawings and prints by Mohammad Noureddini, exploring fragility, displacement, and the collective human body under systems of power. Figures gather, collapse, and reach out, suspended between resistance and submission.
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Unstable presents a series of works that reflect on the precarious conditions of human life shaped by political forces. In these drawings and prints, groups of figures appear in states of mourning, collapse, or collective gesture. Their movements remain deliberately ambiguous: are they worshipping, protesting, reaching for help, or surrendering to authority? This uncertainty mirrors the instability of our times, where boundaries between solidarity and submission, power and vulnerability, resistance and despair are never fixed. Through stark compositions and raw mark-making, Mohammad Noureddini invites viewers to encounter these images as fragments of a larger unfinished narrative: scenes that resonate with questions more urgent than answers. What should be done?