Mehdi Chitsazha

Writing about Vahid Mohammadi's art is both easy and difficult. As a close friend, I have followed his oeuvre since early experiences of college to this day, witnessing his success and failure which gives me a clear idea of his path to be an artist, while I find it dffficult to judge his achievements free of any presumptions. This therefore, is a note from a friend's perspective and not a critic (which I am not in fact).

Vahid's immense interest in landscapes is apparent, which may seem peculiar for an artist whose most successful artworks are abstract. However, such interest makes him such a unique abstract painter. He began with wide poetic landscapes and appeared remarkably original from very beginning. By original I mean to point out his uniqueness in his series of landscapes unlike his attempts of making portrait or figurative themes as such. It so appears that he shows a powerfully instinctive reaction to landscape themes, mostly visible in his Tree series later made. One reason can be landscapes offered him an opportunity to examine new techniques and materials freely, which in turn led him to less original experiences by making already observed mere decorative compositions reminding viewer of Klee or Matisse. Even with these experiences he manifests passionate sensitivity to color and harmony in technique, leading him to abstract painting.landscapes and still life depicted with heavy Looking at his other threads of experience with seventeenth century-like urban dark colors, Abstract painting was Vahid's inevitable expression. Although he proved brilliant in such themes as well, the truth is they were

mainly reflections of temporary motives. Vahid is smart enough to return to the battlefield he is a match for- abstract. He now has gone beyond his earlier style, but it has led him to risky threshold of abstract- a hideous realm to wander in. making abstract art is like walking on narrowest bridges: a pleasant game, that in Levi-Strauss's words entails the risk of falling into pure decorative or representational. Passing through

such a risky path has been and is Vahid's significant concern and challenge, swinging among dominant abstract trends and themes within last ten years - from abstract expressionism to post painting experiences, from purism to recent decades' German neo-expressionism, and from poetic romantic themes and cosmic infinite spaces to unrevealed elaborations of Persian tradition and history. In his recent experiences Vahid shows a conscious premise towards structures of from and color within Persian Painting tradition combined with a global sense- which appears in shapes of Iranian architectural arch in harmony with German Neo-expressionism and ancient mythology, all of which would look cheap touristic without his rich background of landscape experiences. Such experiences no doubt keep a dialect away from banality, covering it with layers of technical skills. Vahid's recent artworks join a mythical magic to wide surfaces of vivid colors and coarse texture, transforming decorative attributions towards artistic expression.

Having said this all, such premise does not necessarily mean he has been totally successful in his new series, neither it means

this is the ultimate desirable approach. There are uncertainties in Vahid's expression that need to be addressed over time. What time will do to his oeuvre, that I cannot see. However what remains admirable in his professional achievements is his richness of technique and expression within a very short span of time, by which his art will blossom.