y the time Vaziri relocated to Italy (residing there from 1955 to 1963), the formalist concepts of modernism had matured into a firmly established paradigm.

During his studies at the Academy of Fine Arts, Italian professors were adept at comprehending and effectively communicating these ideas. Attending these courses opened Vaziri’s mind to the modern articulation of visual elements and swiftly led him to embrace pure modernist painting and solidify his lifelong dedication to abstraction. Vaziri spent time in Toti Scialoja’s studio “Bianco e Nero” (White and Black) where the concept of minimalist art first occurred to him; a place where a whole range of avant-garde ideas (from cybernetics to Zen philosophy) were discussed.

Artists such as Pino Pascali, Maria Pioppi, Mario Ceroli, Jannis Kounellis, Behjad Sadr and Mohamed Melehi also attended Scialoja’s course and became Vaziri’s long-term life and study companions in an exceptional framework of experimentations and within a new intellectual ambience.

The large work to your left (Untitled,1959) shows us one of the best examples of the artist’s abstract landscapes of telluric and cosmic visual manifestations, playing between different scales of vision. What is peculiar and fascinating is how Vaziri maintains a dialogue with some of Ecole de Paris and the Informal school's most original protagonists such as Alberto Burri, Henri Michaux, Jean Dubuffet and Antoni Tapies while at the same time, following a completely experimental path.

The large work to your left (Untitled,1959) shows us one of the best examples of the artist’s abstract landscapes of telluric and cosmic visual manifestations, playing between different scales of vision. What is peculiar and fascinating is how Vaziri maintains a dialogue with some of Ecole de Paris and the Informal school's most original protagonists such as Alberto Burri, Henri Michaux, Jean Dubuffet and Antoni Tapies while at the same time, following a completely experimental path.

Close to an esoteric attitude, Vaziri’s art, beyond ْ appearances, does not easily divulge its profound material and temporal process; even less its influences