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Darius Yektai
White Tulips

2019

About the Item

Darius Yektai's "White Tulips" is a large-scale, layered, oil on resin, on canvas painting. White Tulips is archetypal in all but scale. Yektai’s statement is clear: he has made it with size alone; here he gives us a super-sized, yet child-like reminder of beauty. The dark backdrop, as in an Old Master’s still life, allows one to contemplate deeply. Thanks to the half-inch layer of resin, one can even see themselves reflected within the canvas, rousing a new introspection, where the viewer actually becomes part of the painting. Thick applications of dark paint, atop the resin layer, delineates a boundary amidst near-opaque obscurity, - limiting our ability to see underneath. However, the use of black paint atop black paint leads the viewer towards a specific subtlety; a deeply examined delicacy which infatuated some of the great modern painters of the 20th century. Ad Reinhardt, was known for his many black-on-black paintings, the subtle variations of darkness being the main subject matter. Mark Rothko’s famous chapel showcases fourteen black paintings. “The chapel has served as a space for personal contemplation, interfaith dialogue and action for human rights” (e.g. Pat Dowell, NPR). It is meant to be a quiet space, where thoughts can grow. These 20th century notions of inner-thought, self-reflection, and the aptitude of an eye’s ability to see clearly, all emanate from Yektai’s large-scale black painting. Painting is unframed. Layered edges exposed. See detail images. Exhibited in Darius Yektai Solo Show RESINance at Grenning Gallery (2020) Darius Yektai was born in Southampton NY, in 1973, to Irani-American parents...He lives and works out of his home and studio in Sag Harbor. He grew up around art and artists, his Father, Manoucher Yektai, was a prominent Hamptons Abex painter. Darius has picked up some traits from his father but pushes even further into what is now completely his-own. Darius' most recent body of work is bright, colorful, with oil and acrylic paints laid on thick. He's creating sculptural paintings that can't be read from left to right, they need to be examined from surface to base, from section to section, and then overall as an encompassing whole.
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