Interpretatively speaking the teleology or the end result of Sabzi’s work is abstraction. His paintings, while graphically objective and figurative, nevertheless, seek release from the narrow confines of reality. To carefully read his art is to decipher the ouroboros structure that begins as seemingly real and ends conceptually in abstraction. Thus, the implications of his works are broad, universal and metaphysical. His device for abstraction is subtle, for the means by which he structures and creates this abstraction is through the intermingling of disparate cultural symbols that bespeak the elusive narratives of transcendental identity and belief. To put it differently, as much as the symbols in his works are temporal and contextual, these symbols, by addressing the mythic-narrative signs rise above the daily experiences and the functionally known. Sabzi’s images are often culled from the Western and Eastern artistic repertoire which, when conjoined, appear as distinctly alien outlooks, and thus not surprisingly, these designs allude to the interminable and unbounded possibilities of being. It is this quality more than any other that makes these recollections and reformulations in his art elusive and thus abstract.
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