About Farkhad

[M]any artists, classics of abstract art, started from some purely speculative idea, from the visualization of an abstract order of plastic forms. Piet Mondrian, for example, came to abstraction by submitting his creative work to an almost academic, rational approach. For Kazimir Malevich abstract composition is some sort of spiritual and mystical contemplation alien to the world of real life. Farkhad seeks his own way to express himself, starting not with speculation but with observation of reality. His approach proceeds from emotional and sensuous experience. With emotion he works as if it were a musical instrument: he tempers it, extracting various shades of meaning while at the same time making the idea more general and effacing all specific details […] from observing a fragment of reality directly he started to move slowly, step by step, from year to year to greater abstraction, finally ending up with the world of purely abstract forms. At the same time, Farkhad’s forms and patterns never become totally sterile. He never crosses the vague borderland, so that on the one hand you can see a purely abstract pattern and on the other you can sense the original observation that lies behind it. The impression is that you are looking at a landscape with your eyes narrowed, as if out of focus. Farkhad is not the only one using this language of nonrepresentational art. He is an adherent of one of the traditions in modern painting. The great Giorgio Morandi worked in the same manner, who was famous for his remarkable intensity of observation. The same style was inherent in the work of Nicolas de Staël who reduced his landscapes to their plastic quintessence. This tradition, though focusing on the basic means of expression, does not make art isolated from real life. On the contrary, the more isolated the form, the better it describes human experience in this world.