from an Article in Le Monde Magazine

Like the vast majority of Iranian avant-garde artists, a selection of whose works were exhibited at the Sirous Gallery in the autumn of 1971, Tabrizi is deeply affected by the calligraphic tradition of his country. The material he uses is also traditional: Indian ink on tanned and marbled leather, with a good beige base that he exploits (even the accidental parts such as vein patterns and holes) to define his spaces, punctuated by elegant and light strokes of the pen. Commas, diacritical marks, hyphens and lines tangle, disentangle, turn about, vibrate, rubbing shoulders and disengaging as the artist's hand moves, to suggest in the process a myriad images of shimmering landscapes. This lyrical painting, ever more liberated from all constructive and rigorous schemata, with its written forms, becoming even more concise in later works, is endowed with a strong power of seduction.

--Le Monde Magazine, 19 April 1972

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