About

French-Iranian painter, born in 1969 brought up in Paris. As an artist, P-DRAM has worked in Monaco, Geneva, Luxembourg, Tehran and Paris, where he had his last show in December 2022.P-DRAM worked from the beginning on primary colors, and geometrical abstraction.As the artist revealed the world from his inner perceptions, he has intuitively felt that geometrical shapes where the code source of frequencies, from which emanates the existing. P-DRAM's intuition, is now confirmed by many scientists in mathematics, the “Shape power” theory released 6 years ago by Dan A. Davidson, was the first step in this new approach of the existing, by getting ahead of number and words to understand the universe. To simplify, any geometrical shape has a specific frequency, which agenced with other shapes creates the infinity of existing matter, including biological, mineral and energy waves. Knowing that all is energy, with shapes or expression modulating in accordance to its vibrations, we understand that we are geometrical structures.

The New York collection, composed of 12 multi-panel paintings, is a perfect expression of the meaning, feeling, generated by shapes and colors. The modulating possibilities linked to the changes that can be allowed by the repositioning of each panel, according to the viewers perspective and gives the opportunity to have multiple designs in one piece of art.

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One of the world's most important art critics Gerard Xuriguera, who published 140 books, including numerous reference books on contemporary art, 2,000 articles, 1,000 prefaces and over a hundred monographs has been to my studio in Paris and has become a close friend of mine. He has written about my art:

An artist has every right. He can lay claim to abstraction and allow himself some
digressions, even, at times, broach the figure and come back to its foundations, but
abstract paths are not only one-way. Within the lyrical approach we also come across
the Informal, Tachisme, later on the analytical and the ideal, like Support- Surface or
BMPT, finally geometry and minimalism, its natural progression.
A willful and anxiety-ridden painter, p-dram remains at the cross-roads of these
variations, because he recreates the tension between the gesture’s urgency, a
feeling for Tachisme and the strengths of Constructive Art, without ever foregoing,
even for a moment, the figure’s sun-filled vehemence. In other words, his writing
feeds off ambivalence, but with a fondness for effervescence, lightly flecked with a
rigorously structured abstraction.
This is obvious in his mild mannered and lush compositions, where the combination
of rhythms and counterpoints, emphasize its analogies with music to which the artist
is devoted. However, here, the hand’s restrained enthusiasm, the spontaneous
sprinkling of signs and stains, combined with the fluid or cutting scansions of the
chromatic field are more usually marked by a fantasy that is exceptional in these
surroundings.
Thus, we notice that these controlled alliances owe nothing to an orthodox geometry,
nor to a conventional romanticism, which indeed, is not their author’s intention, but is
due to a happy combination of order and sensation. This leads sometimes to very
spare surfaces, divided up into triangular planes sprinkled with little marks, or else, to
spaces split into four triangular fractions, lacking any form of identification.
At other times, perhaps weary of so many abnegations, thanks to his generous
character, the painter returns to his colored fields marked with notches, at the core of
which we note a thick circle or an oval, that provide a meaning to the surrounding
color fields.
Faced with these recurring circles and the taste for sound-filled colors, we could think
of Sonia Delaunay or even further of Jasper Johns , but p-dram’s process owes
rather more to the imaginary, to the fusing of opposites, and aims for another finality
that covers its tracks, typical of his era’s concerns.
A Parisian, originally from Iran, trained in the discipline of miniatures and familiar with
the science of colors, p-dram has managed to combine Western art forms and the
memories of his own culture, by creating a body of work that is simultaneously
flamboyant and guarded. And following his interpretation of bodies and faces, severe
and outlined in his colors’ warm life, he happily and authoritatively pursues his quest
for the essence, in other words, his world‘s true essence.
Aware of his duties when faced with the stakes of his work, p-dram carries us
towards an infinity of vision that leads him to encounter his most secret self.
Gérard Xuriguera
Translated in English by Ann Cremin

I also had the chance to meet Francois Celier- a philosopher and art critic, who wrote an piece on me after seeing my work:

Springing painter, whose works after us will live… We who in our lifetime contemplate them, do not have the heart too obscured for he is one of those who will dwell among the great recumbents of painting.

Without weakening to the habituation, continuously innovative, his portraits and mosaics emit boreal vibrations, infinitely colorful and moving, in which, beyond the polar circle of kiruna, emboldens to plunge a Rimbaldian look.

Certainly, the eye of the man with the wind soles leads the mind and hands of P-DRAM, inspiring him to project the order of intoxicating colors, offering to anyone who wants to grasp the image of a human depth overcome by the prodigy of creation.

To rise above the futile and the ephemeral, his work is wrapped around itself, intimately shaped before exploding and blossoming in a timeless space, ignoring the limits to the understanding of salons and their experts.

For anyone who feels instinctively, imagines and is moved by the luminescent vibratos of his painting, it weaves a uniqueness of lines of light coming from universal harmony, that of enchanted tones and formal rigors, only able to deliver the arc of the colors of a quiet morning or a sunset from beyond world.

By haloing them with compassionate sparks, underlying his work, I sense that this Don Quixote of a cosmos in color dreams in the secret of his heart, to create more fraternal understanding to the wonder of life.

His work is addressed to watchers, to all those who probe the depth of lost souls, instinctively read the vibrations gushing from his painting, place this interpreter of naked beauty among the trackers of a lost paradise, and finally, seek without respite an aesthetic emotion likely to reignite hope, for a true transcendence of art and beauty.

Far from ephemeral modes like the black chaos of contemporaneity, P-DRAM works for a world full of abundant vital energies, in the spirit of primordial beautiful art.