Sadegh Tabrizi is one of the few Iranian contemporary artists who have made a great contribution both to the "creation" and the "dissection" of Modern art in Iran. Therefore, it bears some significance to look at him from the "creation" point of view to be able to understand his pool of creativity, a perspective that encompasses both the artist and his art. This necessity has been spelled out through recent movements by some artists who, in establishing the foundations of their art, imitated and employed the roots of his style. In doing so, these artists have set off on the road to imitating what he had once practiced but no longer practices, or what he had skipped on his way to eminence.

Although these works were leisurely produced through different periods, they have paved the way for the most intense period of Tabrizi’s career in terms of innovation and quality beginning in 1970. Instead of saturating his work with illumination and page decoration, Tabrizi hints at Persian miniature painting by using inscriptions in the form of broken Nasta'liq to fill the negative space of the paintings. Here he realizes an important innovation that calligraphy can create abstract forms in free compositions. Looking at the suspended calligraphy-based motifs of previous works, Tabrizi comes up with the idea of an abstract use of them in individual compositions. This is perhaps the most successful period of his career. Inspired by calligraphy, especially broken Nasta'liq as an abstract form on hide in black ink, Tabrizi produces a large number of works. He adopts this approach to reach at a seemingly easy method in painting, which is inspired by Persian calligraphy but goes beyond that to reveal itself as a completely abstract and expressive form. Works of this ninth period of Tabrizi’s career were exhibited during a solo exhibition first in 1970 at Burgese Gallery and then at Sirous Gallery in Paris. Interestingly, the artist uses the same style, which has unlimited variation, in large-scale works on rawhide, canvas, and paper that are exhibited in Australia and East Asian countries. This period of Tabrizi's work can be considered the result of his diverse research and experimentation into both Persian and Western methods and representation. He later transformed this exploration into an "Abstract Expressionism" that displays a graceful fluidity of mind, and possesses the same fundamental characteristics that are unique to modern Western art.

www.tabrizigalleries.com