p-dram
 

p-dram

(written by critic and art historian Gérard Xuriguera)

An artist has every right. He can lay claim to abstraction and allow himself some digressions, even, at times, broach the figure and come back to its foundations, but abstract paths are not only one-way. Within the lyrical approach we also come across the Informal, Tachisme, later on the analytical and the ideal, like Support- Surface or BMPT, finally geometry and minimalism, its natural progression.

A willful and anxiety-ridden painter, p-dram remains at the cross-roads of these variations, because he recreates the tension between the gesture’s urgency, a feeling for Tachisme and the strengths of Constructive Art, without ever foregoing, even for a moment, the figure’s sun-filled vehemence. In other words, his writing feeds off ambivalence, but with a fondness for effervescence, lightly flecked with a rigorously structured abstraction.

This is obvious in his mild mannered and lush compositions, where the combination of rhythms and counterpoints, emphasize its analogies with music to which the artist is devoted. However, here, the hand’s restrained enthusiasm, the spontaneous sprinkling of signs and stains, combined with the fluid or cutting scansions of the chromatic field are more usually marked by a fantasy that is exceptional in these surroundings.

     

Thus, we notice that these controlled alliances owe nothing to an orthodox geometry, nor to a conventional romanticism, which indeed, is not their author’s intention, but is due to a happy combination of order and sensation. This leads sometimes to very spare surfaces, divided up into triangular planes sprinkled with little marks, or else, to spaces split into four triangular fractions, lacking any form of identification.

At other times, perhaps weary of so many abnegations, thanks to his generous character, the painter returns to his colored fields marked with notches, at the core of which we note a thick circle or an oval, that provide a meaning to the surrounding color fields. Faced with these recurring circles and the taste for sound-filled colors, we could think of Sonia Delaunay or even further of Jasper Johns, but p-dram’s process owes rather more to the imaginary, to the fusing of opposites, and aims for another finality that covers its tracks, typical of his era’s concerns.

A Parisian, originally from Iran, trained in the discipline of miniatures and familiar with the science of colors, p-dram has managed to combine Western art forms and the memories of his own culture, by creating a body of work that is simultaneously flamboyant and guarded. And following his interpretation of bodies and faces, severe and outlined in his colors’ warm life, he happily and authoritatively pursues his quest for the essence, in other words, his world‘s true essence.

Aware of his duties when faced with the stakes of his work, p-dram carries us towards an infinity of vision that leads him to encounter his most secret self.

 
     

 

 

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