Sabzi's subjects are almost always women, beautiful, graceful, taciturn
and lugubrious, they reflect solitude. His women are Madonna's, modern
goddesses, and martyred saints whose elongated forms suggest instability
and internal conflict. Their anonymous faces transform them into religious
icons that transcend and defy the demands of reality. Yet, other paintings
reflect warmth, charm, gayety, happiness, and his undisputed love and
admiration for women.
Sabzi's paintings resonate both eastern and western philosophies. His
rich Persian heritage provides him with ancient images and sentimental
Persian themes and memories of innocence. The Western source of influence
comes from one of the most creative moments of modernism of Cezanne
Sabzi's debt to modernism, especially Matisse, is irrefutable. His
earthy hues of pale greens, yellows, purples and reds illuminate the
settings and inspire the forms with unique inner vibrations. The treatment
of the human face as luminous geometric planes, though schematic, is
nevertheless a profound statement of the artist's quest for spirituality.
Sabzi goes beyond Matisse and creates spatially revolving worlds that
are post-modern. Reflections of images in mirrors, for example, are
emotionally breath taking, assuming a life of their own. The effect
is a powerful attempt at multiplicity of emotional representation. Here
the fantastic is treated as ordinary and the rich fabrics of the paintings
assume intimate unveilings.
Sabzi acknowledges in his paintings the historical, stylistic or cultural.
The sheer luminosity of his spaces contrasting sharply with the somber
moods of his figures appear at first to be contrary but soon protent
to be valid and potent to the viewer.