Sadegh Tabrizi is one of the few Iranian contemporary artists who have made a great contribution both to the “creation” and the “dissection” of Modern art in Iran. Therefore, it bears some significance to look at him from the “creation” point of view to be able to understand his pool of creativity, a perspective that encompasses both the artist and his art. This necessity has been spelled out through recent movements by some artists who, in establishing the foundations of their art, imitated and employed the roots of his style. In doing so, these artists have set off on the road to imitating what he had once practiced but no longer practices, or what he had skipped on his way to eminence.

Tabrizi can be considered a holistic artist with a multifaceted vision of reality who, in giving dimension to his practice, bestows new angles to Iranian contemporary art. This is so intensified that one cannot ignore a pervasive approach to indigenizing the Western Modern and Post-modern art through the Saqqakhaneh semi-school and the work of one of its central figures, Sadegh Tabrizi.  He offered a series of “proposals” a few decades ago which, despite commonalities with other pioneers of the Saqqakhaneh School, surpassed them with a diverse series of experiments. Hence, he has played a vital role in dissecting contemporary intermediary art – a style that mixes Western and Iranian traditional art. Prerequisites of such a holistic approach can be traced in Tabrizi’s searching soul. Even before examining intermediary art at the Faculty of Decorative Arts, Tabrizi had built up a reputation for himself in traditional art and its vocabulary. Explorations in this apparently fantastic and experimental course assumed more serious aspects later when playing a significant role in the development of modern and contemporary Iranian art. What has been neglected to date is a complete catalog of Tabrizi’s work. So one has to resort to storytelling to be able to show his real art and to fathom the genesis of his artistic career.