A space between two points, created by light and the dark shiny matter in front of it, a multilayered area in a person's life who is always surrounded by the light coming from afar (the past). Into a vast darkness whose depth is created by the glimpse of a light in the corner of our eye.
The absence of human in Yazdani’s works, is a testimony to the emphasis on the role of the observer and the creation of perceptions between the artist and the audience. An approach that philosophically considers the artistic content a place for a comprehension of existence; more mysterious and sometimes romantic - baroque. The artist's previous paintings, in contrast to most of the works presented in this collection, raise arguable points.
In dealing with works, the audience faces two distinct types of aesthetics. First, works that have more depth and space with surface, texture and light, and another kind of works that are presented with mixed media technique and in small dimensions, on paper and with less depth layers.
The lack of colour, at least in a simple and transparent way, can be considered as another reason for Yazdanian's interest and attention to the category of conflict in the form of light effects and empiricist search with scientific reading.
One of the elements considered by the artist is the paths that end up in the form of a pedestal or stairs, that conceal a hidden light. This form of works belongs to the first group of works and shows the artist’s rotation from a metaphysical point of view to the essence of painting in the second group of works.
In the works of the second group, the appearance of objects such as table, couches and wheels in contrast to the incomplete section of the interior is the result of the artistic poetry and subjective search, which can easily be understood by his attempt to provide the future direction for his work. The flatness in his smaller works of this collection is a perspective that in the future will promise a quantitative and qualitative transformation in the Yazdanian’s aesthetic view.
Light, as the main element for understanding the visual perception, is a subject of interest to the artist, which can be the result of theoretical experiences in the university of art.
Behavioural follow-up, along with Yazdanian's loyalty and educational discipline, has put him at the forefront as a serious artist over the past 15 years, which is on the verge of the transformation and gaining a more precise path to the extremely widespread subject.
The artist's options for further progress on the artistic pathway and the creation of his work become clearer, this is what can be comprehended from this collection. A path toward formalism or a scientific look at the subject of light, as a mediator of the influence of mind on the object, is surely to be the result of freedom from value of the modernist theocratical systems and the discursive value of media and concepts.