Conservative? Passé? Old school? Sadeghzadeh's tar calligraphy (or callipaintings) show us a very different take on Persian calligraphy, one that is innovative, abstract and seriously modern. 

Students of calligraphy are for the most part, doomed to endless repetitions of the pen. Eventually, a small number will retire to the safe confines of professorship. The true pioneers, however, carry on a centuries-old movement of innovation in the practice. From their position on the fringes of convention, they deliver to us works of unrivaled boldness and freshness and give new air to an art form unjustly cloaked in traditionalism. 

Years of study, practice and experience has conferred an unparalleled liveliness to Einoddin Sadeghzadeh's callipainting. Through experimentation with different styles, including traditional Persian-Islamic as well as Far Eastern calligraphy, painting, graphic design and visual arts, he has constantly striven to deliver mature work worthy of an ever-evolving and ever-seeking artist. In this, he has continued to enthuse diverse audiences while maintaining their interest in calligraphy.

Sadeghzadeh's tar callipaintings on canvas display an unaffected blend of two calligraphic traditions: the Persian tradition which is dignified, stately and structured, and the  Eastern tradition which is spontaneous, unstudied and Zen-like. Navigating intuitively between these two worlds, Sadeghzadeh creates an element of surprise.

The combination of different tars produces unexpected contrasts in color and emotions while excerpts from age-old Persian poems relive to deliver a remarkably contemporary message. Above all, the very delicacy of this rough and industrial medium challenges our senses to break barriers and uncover stunning contrasts.