Yektai’s artwork is the product of many years of living in France and the United States of America, but his look at the subject and the choice of the subject are entirely connected to the East. The formidable touches of brush on the artwork, extempore combination of colours on canvas, using spatula instead of paintbrush, usage of thick and voluminous colours, selection of huge canvases with uncommon compositions, all are resulted from years of artistic activities in the western avant-garde movements. Besides, his choice of colours with an unparalleled purity, being extempore, resulted from a kind of revelation and spontaneous influx on the canvas, which is laid on the ground, all are because of the Iranian and eastern originality of Yektai. The eastern imagination, are appearing in a modern expression, by his expert hands, also, Yektai’s artworks, are changing to a universal visualization and expression, which is extended from the east to the west. Pressure, distortion and endless energy, from the heart of each line, are transmitted to the audience’s mind, and such an abstract space is created from an objective world. Manouchehr Yektai’s artworks are practical and pragmatic paintings, which froze the artist’s actions during painting; the frozen energy in the rapid movements of the brush, along with anxiety and rapidity of the performance, reflect the artist’s actions during painting, in the best way.
“Yektai’s artworks are inspired by Abstraction Style, with a figurative aspect. His artworks have become sophisticated over the last 10 years. The vacuity of suffering in his artworks is astonishing. It is like Yektai was not accustomed to suffering and pain, or such situation, expressing this feeling, has never happened to him. Among his the and sometimes mild technique, in general, it can be said that he is the painter of happiness and prosperity of our world, and while he is working with in a new way, he has not forgotten the romanticism and happiness of life. The white colour, along with vibrant and bright colours (which can be considered as a distinctive feature in his artworks), keeps him out of a trouble, which might an artist face to for demonstrating the feeling of happiness. His attachment to the bright and vivid colours, indicates his the and vitality spirit and shows that he has passed the era of erotic and pointless lust and granted the feel of happiness and exhilaration to his artworks. This distinctive aspect and the clear mood of white colour, can be very well observed in the Naked and the Silent Nature paintings. In the Naked artwork, there is a specific kind of white colour, which had been called as marble colour in the past. Indeed, the arm of some of the eastern women, who is living far from the seashore, reflects such this excellent colour. In the Silent Nature artwork, the stability of the objects and the content of the scene, have been replaced by the silence and relaxation, drown in the white colour. Thus, it can be judged that there is no full abstraction in Yektai’s artworks, but rather a particular way, in which the figurative art, also, is employed, and the only name that can be assigned to it, is lyrical abstraction; because the artist speaks with his painting and what goas on inside him, with colours, form of the object and shape of the line lines, which is rich in white and vivid colours, tells stories.”