Yahyaei from others Viewpoint

Five artistic decades and feedbacks of socioeconomic, artistic, and cultural figures on artistic works of Reza Yahyaei are new perspectives for recognition of art and artist.


Dear Master Reza Yahyaei by Jacques CHIRAC

Dear Master Reza Yahyaei

You have had the pleasure of sending me the album devoted to your sculpture and drawings.

I was very sensitive and I thank you warmly.

It is with interest that I began to go through this very complete work which addresses all the facets of your artistic expression and your sensitivity.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

I ask you to accept, dear Master, the expression of my best sentiments.

Jacques CHIRAC

Your choice of setting up your workshop in France, like many international artists, is the expected of the radiance and vitality of creation in our country, to which you make your eminent contribution.

I ask you to accept, dear Master, the expression of my best sentiments.

Jacques CHIRAC The president of the Republic Paris, 25 November 2005
Rezayahyaei,رضایحیایی,رضا_یحیایی,Jacques Chirac Reza Yahyaei

Reza Yahyae’es art work at Milad Tower by Behrouz Darash

Reza Yahyae’es art work at the top of Milad Tower is an apocalyptic piece.

It is a land of the artist’s fantastical struggles, a narration of lost corporeal fantasies, sensational corporeal experiences, and faith in corporeality which is more essential than believing in the self.

Reza Yahyaei is the artist who creates the corporeal. Faithfulness to the body, the art of leading with one’s body, and visual inspirations embraced by the body. Art must pass through the sensation to reach wisdom. Artistic creation has a biological corporeal foundation. One can hear the voice of the body through his art.

An individual body which does not conform to the public. The work appears similar to the cursed Babylon, the field of suspend signifiers. Passing through the body to transforms the vision and opens a new perception to the time. For the human, the Oath to the body is most recognized and most transparent.

There is an inclination to pleasure and happiness in order to fill the death abyss and its final determination. Being an artist is a behavioral and biological manner; aesthetical essences of the human’s living body. The mark of an instinctual and bodily rebel; like radiation of a cat’s eyes, like the fresh muzzle of a wild animal.

Yahyaei’s artwork at the top of Milad Tower is placeless and timeless, to observe it one must be liberated. Passing through habits, going beyond symbols and agreements, the art does not compromise by offering easy looking, it provokes the vision.

A sensation of not-knowing exists within it. An approach to uncertainty, it prevents you from titling it, and unconsciously you become paradoxical. The work has no obvious completion and ending, similar to truth and fact, one must see it, without a mediator.

We are artists only until we are engaged with instability and agitation. And we create. Recurring events are only a proof and allusion to themselves. Artistic existence is an experience of unity and division.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

Best to remain silent about the piece. The artist’s work deserves to not be criticized. Let it speak for itself and be observed without a mediator.

Behrouz Darash

The disordered and chaotic; ambiguous and cheerful; deprived of lucid restoration to the otherness, creativity in the arena of agitation. Reza Yahyaei’s artwork at the top of Milad Tower is like sleeping beauty during the day, and at night its beauty doubles, illusive and seductive.

Apparent, it is a glamorous night guard; left and right, up and down, scattered fragments in unlimited space, placeless and timeless. Impossible scenery, innovative disobedience in between real and virtual, illusion and dream, like a real work, abstraction in realm of time.

Like a glorious monster, neither a commencement nor an end, in the middle, continuously reopening, passing from one partial condition to another, from an untold narration to another, a fudge in the arena of the abstract restoration of four elements of water, soil, wind and fire; four fundamental elements of archaic culture.

A work that risks to go beyond the self. The artist immerses his own inspiration and inclination in each sign and visual element. Liberating elements from their own frames and reasons, we are intoxicated to doubt.

The work is a study in inception from empty spaces, difference and proximity, intertwined webs, and there is no subject. In the middle improper frames, crude processes, abstraction in artist’s apprehensions, sensations and experiences, rebellious improvisations, cheerful means, a migrating piece mirroring the artist’s essence.

Best to remain silent about the piece. The artist’s work deserves to not be criticized. Let it speak for itself and be observed without a mediator.

Behrouz Darash Sculptor

Reza Yahyae’es art work at Milad Tower by Mohammad Beheshti

Milad Tower is the most symbolic urban construction built in the past three decades and time shall prove its immortality. The symbolic aspect is so vividly distinct that it will function in the present time and the future. Its symbolic appeal, be it intentional or not, attests to the dream of Iranians in this era. Although there are no insignificant spaces in this tower, the most prominent space is its throne, the sky dome, which is naturally expressive. According to symbolic rationale, the sky dome is the pinnacle of Ghaf where the phoenix nests. The phoenix is a symbol of Iranian wisdom and cognition. Historically Iranians have interacted with peripheral milieu, and its culture derives primarily from diverse neighboring influences.

These interactions resulted in cultural wisdom that helped Iran to survive during bitter historical times; and in peace time mobilized opportunities for them to excel in all fields. Based upon this essence, in comparison to other cultures, we have witnessed persistence and pride throughout the millenniums. Yahyaei, in his artistic somnambulists, peeks at the ancestry of Iranian historical wisdom. The artist returns successfully from his pivotal adventure and brings an abundance of symbols and icons, each referencing a segment of Iranian culture. Through this window, in a space sometimes fuzzy and sometimes clear, he shows us images from Sialk to Marlik, Susa to the burned city, Jiroft to the hills of Damghan, Shahdad to the springs of Rey, Hasanlou to Chaghazanbil. All are present in his feast as he sought to probe through history. Yahyaei avoids using visual icons as parts of his speech. This reveals his modesty. Artists are considered successful once they have expressed their own language, but this success is transcended once they provide a context for the entire culture of a nation to speak up.

This is the true purpose of architecture, to help human existence convey meaning. All tasks of architecture, such as mere physical needs and technical performances, are attainable without attaching meaning. Milad tower at first glance is a telecommunication and broadcasting tower.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

In the most symbolic construction of the past three decades, at its most significant spot, at Ghaf pinnacle, Yahyaei unfolds a sight into the most valuable jewel found in this land. That is, the jewel of Iranian culture.

Mohammad Beheshtiwww.Rezayahyaei.com

Its primary aim is to comply with urgent needs of Tehran, but its other operations are directed towards achieving an architectural, symbolic piece of art. Furthermore each architectural piece is, in itself, a product and a cultural phenomenon. Hence, the monument embeds the notion of time within itself. Each cultural phenomenon attains meaning by locating itself within a cultural domain throughout time. Milad Tower sky dome rests upon the highest spot, and where the sky and the earth merge. It is the highest point of any view. Hence it is a place where architecture and cultural notions unfold simultaneously.

Reza Yahyaei’s art work is located at the central wall of the construction, and he relies on concepts derived from the culture of this land to confer meaning to the piece. Yahyaei displays the work to his viewers in two segments. The first segment presents symbolic notion of creation by depicting the heavens through the four essential elements. And in the second part, water, wind, earth and fire are presented as the arena for centuries of cultivation and human attempts to access the magical world.

A work that risks to go beyond the self. The artist immerses his own inspiration and inclination in each sign and visual element. Liberating elements from their own frames and reasons, we are intoxicated to doubt.

These elements exist in images, architectural ornamentations and potteries and address mythologies, beliefs and appreciation for nature. The details and complexities unfold in transcendent notions. Yahyaei’s art work must be viewed minutely and deliberately. None of these elements are lacking symbolic and iconic notions visible throughout this land. He demonstrates moments from the passage of history and evolution of the mind in this land. In fact every single one of these elements are present. Be it on the bodies of water, wind, earth and fire, or the way they appear on Yahyaei’s “evil eye“ or “pomegranate” and “cypress”, all address a complex and marvelous view about the surroundings. It is as if he narrates them in this way and orders them in a sequence. At first glance, his viewers distinguish his art works from others and realize his unity amongst others. In other words the artist succeeds in presenting himself as the market witness.

Best to remain silent about the piece. The artist’s work deserves to not be criticized. Let it speak for itself and be observed without a mediator.

In the second state, the culture of a nation sits upon the frame of his art work. This state is seemingly easy, but actually difficult to imitate. It is easy because it only requires a collection of symbols and icons from a culture, and to achieve that one does not need to be an artist. It is difficult because it requires artist’s quintessential interaction with the culture and situating himself in the shade of the culture. Being in the shade requires the artist’s maturity, which is only acquired by the intrusion of real life.

This maturity requires understanding the difference between “being in the shade” and “absence”. An artwork in which the artist is absent is not valued as an artwork. It is a superstitious repetition of culture and art work, in which the culture sits on a throne. The more it has deepened in the culture, it casts more shade onto the artist. And the more shadow is cast upon the arts, the artist’s presence is more vividly felt; the more in the shade, the more present.

In the most feasible encounter we witness an essential relationship between the artwork, the artist and the culture of the land. In his art work, Yahyaei introduces himself as an artist of such relationships. The artists of this kind all face one focal point and that is Iranian culture.

In the most symbolic construction of the past three decades, at its most significant spot, at Ghaf pinnacle, Yahyaei unfolds a sight into the most valuable jewel found in this land. That is, the jewel of Iranian culture.

Mohammad Beheshti Main Member of Farhangestan-e Honar

echo of original secrets by Philip Levy

His works echo original secrets, visualized myths, and covert humanity.

Various dimensions of his works, their framework, and unprecedented outcomes are regarded as a great pursuance for indescribable apogee.

His eastern mystic behavior, his awareness of ancient art history, and his impressive hypotheses are indications of smart artistic opinions.

He does not transmit extremely overt messages.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

His works echo original secrets, visualized myths, and covert humanity

Philip Levy

His permanent ambiguity prevents sense of frigidity.

His sculpture seems animate, which is born before us, dies and immediately is born. His works cannot be classified.

His works are full of ingenuity.

Philip Levy Artistic Critics (1998)

Pursues Perfection by Paula Gratzy

He permanently pursues perfection and moves beyond belief.

His works are indications of tendency towards movement.

He amazes us with his ingenuity at his best.

He prepares himself for defeat and movement for creating new situations.

Italy is a flourishing scene due to artistic movements including Renaissance or humanism as well as the origin of his works.

Yahyaei never abandoned Italy artistically and emotionally. His bronze works and pottery works were created in Pietrasantana and Calenzano (Florence) respectively.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

He permanently pursues perfection and moves beyond belief.

Paula Gratzy

He carefully and enthusiastically attempts to gain awareness about humans and to be inspired by them.

His paintings and sculptures are rooted in maternal affection, love, pain of abonnement, female elegance.

Their colors are indications of these feelings. Their love and elegance are obviously palpable.

Let those love and elegance guide us towards discovery of art.

Paula Gratzy Artistic Critics, violet catalogue (1997)

The sculptured, designed, and painted woman forms artistic world of Reza Yahyaei by Pier Watt

The sculptured, designed, and painted woman forms artistic world of Reza Yahyaei: A big, huge, and circled like the world. This sculpture is an initial and eternal instance of feminity among all women.

It is a concentrated illustration of inherently female framework.

Sub-symbols are externalized. Sculpturing occurs even at the time of painting.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

A big, huge, and circled like the world

Pier Watt

His long-time and persistent work suggests astonishments of materials whether colored paste, clay, or marble, which can be displayed by lightness at the best.

Pier Watt Art History Lecturer of Paris Fine Arts Department, Velvet Catalogue (1997)

Women and cubes are illustrated by Bernard Coffin

His ingenuity is displayed by concentration on a new life and revival as well as movement and creation.

Women and cubes are illustrated: A new and impersonal mask without any ornamentation.

Sometimes, it acts as a wandered figure in contrast with feminity.

All things are mysterious. His works are often concentrated on same themes.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

Uninterrupted choices are made without any end

Bernard Coffin

Uninterrupted choices are made without any end, by which he repeats himself. He employs specified methods for his areas of activities.

He imagines future for humans. He invites humans. In all songs, his being sings with an organized modulation.

According to Zoroaster, he is primarily a prince (a human), and therefore can look for adventure and try experiment.

He can live and die. He can paint pictures and create sculpture.

Bernard Coffin Painter & Artistic Critics (1995)

No horizon is seen beyond there by Natali Shambon

In 1954 and on the shore of Caspian Sea, all things occur. A kid without any memory prepares a large number of kites and flies them to the infinity.

No horizon is seen beyond there. Reza demonstrates his intelligence soon. Immortality cannot occur unless an inherent triumph is scored.

Then, childhood art is changed into a more inherent and deft art. In twenties, he travels from East to West.

He finds his first artistic trend in Florence. Whatever his method is, he moves his being towards metaphysic probe.

His extreme infatuation moves him towards an extremely wide whirlwind and holiness. He directs us towards an admissible passion and mysticism.

Surprisingly, his feasibility of expression and his sculpturing experience in Carrara Marble direct him towards huge paintings in which figures produce their own light.

Therefore, Fine Arts Academy of Florence appoints him to teaching of artistic techniques in 25 years of old. Four years later, Fine Art Department of Jondi Shapoor selects him to manage and monitor research activities.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

Immortality cannot occur unless an inherent triumph is scored

Natali Shambon

This is an indication of aesthetics of mystery and emphasis on eternality. At his artistic crossroad, he gathers apogee of his cultural memory in this creating power atmosphere.

The woman collarbone strip of maternality is an indication of his own mother strip: A selected woman.

Why is Reza motivated to place idols or unknown goddesses in a spatial haven including cubes? He does not view this regular geometrization of space as irritating, unlike viewpoints of some people.

Assured cube of humans is related to rationality and logic. It gathers all forces of material and develops them.

Therefore, he replicates them through signs of women (ascetic life). For perceiving this new concept, we should put ourselves in his shoes because he is more aware that this cube with three-dimension fixity of space is the initial form and origin of any organized existence.

Since his eastern mind makes relationship between materialism and spirituality, he suggests that cubic platform of ancient Greek and Roman sculptures has not only basic performance but also is inseparable of sculptures and their spirits.

Cubes along with sculptural female image, he empowers females and grants them eternality. Multiple dimensions of his world move beyond individualism and outward features as the result of visualized and innovative harmony.

Natali Shambon Artistic Critics, Blue Catalogue (1999)

Reza for Reza by Reza Yahyaei

The people without ideality are not born yet;

Artistry occurs as the result of a new daily life;

Artistic works are like kids. They should be permitted to move, grow, and to achieve perfection;

Movement is the most crucial mystery of the world;

Working is sacred and is a sort of love same as praying;

My naked figures show honesty of a naked human who his purity and naivety are more significant as compared with our judgmental view;

My naked humans are symbols of spirit nakedness combined with eternality;

Rezayahyaei,رضایحیایی,رضا_یحیایی,

No art can be explained with reasoning and logic

Reza Yahyaei

No art can be explained with reasoning and logic;

Symbolization of artistic works in a community culture leads to a big movement and creates special frameworks;

In my viewpoint, sculptures are nothing but intelligence for their creation and subsequently relationship between spirit and body;

In my viewpoint, sculptures are signs of love and praise rather than idolatry;

New art cannot be defined within a specific framework, like humans because it is humans who are visualized with their all known and unknown dimensions: humans who attempt to move and achieve perfection; humans who gradually prepare themselves for observing spirit; humans who begin spiral movement and desire to achieve perfection; humans who ignore limits, humans who have no flag; They are neither male nor female; They are only humans who tend to be signified; humans tend to discover the world by discovering themselves; Today's art directs death towards life and does not convey any meaning for end.

Reza Yahyaei Reza for Reza (2005)

The Brown Book by Reza Yahyaei

For grasping life realities, eyes are not sufficient. Movement is life reality and movement is identified through movement.

Humans should create reality in themselves and reality advancement should be stimulated to the extent that evolution occurs.

An ordinary person accepts evolution in light of advancement and movement to a lesser degree. And, he sometimes becomes silent.

Rezayahyaei,رضایحیایی,رضا_یحیایی,

For grasping life realities, eyes are not sufficient

Reza Yahyaei

Conversely, an artist produces a more noticeable reality and creation is the first step.

He escapes from superficial recognition and penetrates into reality (surrealism).

Indeed, he should recognize society and help others to recognize it.

Reza Yahyaei The Brown Book (1974)