drawing becomes the identity of its creator”
The drawing, and by that I mean the line, is Tanbouli’s language. It takes priority on all of his surfaces, even in his painting work.
Sharpness, smoothness, thickness and fineness accumulate like a musical score.
The line turns and returns within the composition: not so much telling a story as, rather, exciting the imagination of the viewer through symbolism. This symbolism opens up a space that doesn’t belong to any particular geography, yet is inhabited by an “Eastern memory” that has echoes of Persian art, with its detailed extravaganza, like a rich visual feast. These are mature, thoughtful images, with maximum power of expression.
The composition is simultaneously centred and decentred, as if invisible dynamite has blown the elements in every direction. Even so, the eye can distinguish a mysterious calm; the source of which is that the artist is standing his own ground, and keeping to his own path of finding his own identity. It is an identity which does not stop proving itself and rooting itself intensively within this small space we call a drawing or a painting.
The real name for this space is Icons of Identity.