The French philosopher Gilles Deleuze once wrote, "Any truly new work of art is simple, light and joyful." If one remains aware of how difficult
it is to achieve lightness and simplicity in art, and then considers that true happiness always contains an element of earnest, then one can apply
Deleuze's words readily to the work of Hadi Tabatabai. This work is not "truly new" in the sense of searching for some "never before seen" thing,
but in the sense of a constant renewal of dialogue with its basic origins. Tabatabai always works with the most elementary, the simplest and emptiest
element: the straight line. Horizontals and/or verticals, in repetition, are usually combined as grids, or weaves. No human drama, no messages
regarding the artist's subjective states existonly the absolutely clear and precise existence of the lines in their "state of being." Due to the
simplicity of the formal vocabulary (not to be mistaken for formalism) and the intimacy of the formats, the viewers are thrown back upon themselves
without having received instructions on how the works wish to be seen for the simple reason that the works already say everything essential. There
is nothing that one needs to know before engaging in the act of seeing. Nothing could be more wrong than to ask for the "idea" behind these works or
even for the underlying "mathematics." Tabatabai's works are created intuitively and they rely entirely upon the patient, painstaking and even respectful
handling of the material. They remain untouched by commonplace definitions such as drawing, painting, relief or sculpture. Whoever dares the difficulty
of truly engaging in their simplicityfor nothing today seems less common than the patience necessary for proper concentration upon the work to be
viewed without asking for the "meaning" beforehandwill notice that Tabatabai's works are always striving towards the experience of space in its
most subtle form, even if they are "only" lines on the surface of paper. Not accidentally was one of Tabatabai's exhibition's titled "The space of a
line," because every line, as an elementary act of "spacing," places a front and back and divides light and dark, figure and ground, space and its negation.
In the case of "Weave" all the above has been woven into an extremely dense and tightly linked structure. Essential to the success of these works are their
precision and the artist's full concentration upon the process of creation regardless of the hours, days, weeks or even many months which some of his pieces
take to complete. "Rightness" is a keyword which Hadi Tabatabai himself uses in this context. His works resemble well-tuned precision instruments that give a
decisive, clearly audible sound.
(courtesy of kunstgaleriebonn)
Peter Lodermeyer was born in Ottweiler (Saar), Germany in 1962.
He attended Rheinische Friedrich-Wilhelms-Universitaet in Bonn, Germany receiving multiple degrees in 1983 for Art History, Philosophy, and German Literature.
In 1992 he earned a Masters of Arts in Art History and in 1997 a PhD degree in Art History. Since 1999 Peter has been working as an art historian and author
for books, artist catalogues, articles in national and international professional magazines, art magazines, and broadcast. In addition he has been active with art
exhibitions, organization of and participation in international symposiums, special tours at museums and art fairs, lectures, as well as other speaking engagements.