Article by Art Critic, Michel Tapie
In so far as the precious concepts connected with the signs and spaces of traditional calligraphy interfere constructively, or even artistically, with the structural axioms of a possibly different and multivalent aesthetic, it is essential for the painter to artistically transcend the limits of his or her calligraphic knowledge, be it lyrically intuitive or as formalized as possible. However, this necessary act of transcendence, without which there will be no art or aesthetics, becomes that much more difficult as the artist's knowledge becomes more formal. But in compensation, once the act of transcendence is realized, it can go very far, with total and constructive lucidity, allowing that unique and essentially artistic quality a complete and evident flowing. Now the work of art becomes once again timeless, moving in other metaphysics and humanisms if not classicisms, where aesthetic inductions radiating with our psycho-sensuous perceptions produce, essentially and uniquely, that artistic enchantment which is after all what art is all about.
Such is the art of Tabrizi, who in this case may be considered among the the most accomplished artists of today -- not only on the Iranian level, but also in the domain of international art, which ever since it has become a tabula rasa (cf. Dada), it has also become aware and conscious of other beginnings in an era which is in search of a different power ... and finds in works of art this power which is becoming evermore conscious of other axiomatic bases emanating gradually and inevitably from these works that can no longer be aesthetically ignored. I have spent moments of exceptional quality with Tabrizi at his home in Tehran, in the middle of works which were rendered to perfection in domains which are as much apparent as they are new, and in the midst of a valuable collection of old calligraphy, written or engraved on hard rock, which he has incorporated into his work -- transcending its historico-artistic content and its message of open aesthetical adventure: That is why these paintings are so much a part of the present moment just as they art timeless; they are nothing but works of artistry, overflowing with an ethico-aesthetic fullness, because they of such a high class.
--Michel Tapie, 1972
"Michel Tapie, it is said, has always a surprise in store for us, and a happy one at that! And currently at the Sirous Gallery [also spelled Cyrus Gallery], he is well in his element in his pursuit of "the Other Art". Tabrizi, in his first one-man exhibition in Paris (of a voluntary and concentrated unveiling of lyrical and even quasi-magical nature) demonstrated his well-confirmed reputation, his controlled graphic output, richly executed with a sure hand on a large scale. As such, is he comparable to Braque? In some way, isn't this master calligrapher of fine letters an antidote for that pure Dionysian Zenderoudi?
"The difference between a classical and essentially Apollonian artist (such as Braque or Tabrizi) whose works border on perfection and are generally well admired, and a Dionysian painter with an artistic flare of Zenderoudi's type, as in his fabulous "Adventure of Transcendence", is well known."
--Emmanuel Looten, 1972