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На белоснежном холсте, словно на чистом дыхании, раскрывается островок яркой жизни. Плотные кроны алых деревьев собираются в центр, образуя напряжённый цветовой пульс, как будто сердце природы бьётся у зрителя на глазах. Выделяясь на фоне почти незаметных мазков белого, они кажутся парящими — невесомыми, но полными силы.
Зелёные кипарисы вздымаются вверх, придавая композиции вертикальный ритм — как символ стойкости и вечности среди эмоциональной вспышки цвета. Контраст красного и зелёного здесь не просто игра температур — это диалог страсти и покоя, пульсации и статики.
В этой работе Арман Ягупур не столько изображает пейзаж, сколько передаёт его внутреннюю музыку. Он создаёт эмоциональное поле, где каждый зритель может услышать своё эхо — будь то воспоминание, мечта или тихое «сейчас».
Это не просто картина — это ощущение сада, который существует только внутри нас.
Yaghoobpour is best known for his landscapes. His preferred subjects include natural scenery—such as green meadows and rows of poplar trees—as well as rural textures, like adobe-domed houses. The defining element of his work lies in his tactile approach to paint: he applies color in thick impastos, layering heavy masses of pigment side by side. This treatment of paint aligns with one of the central achievements of modernist painting—emphasizing the materiality of paint as a subject in its own right. Manouchehr Yektai was among the first Iranian artists to explore this potential, and his influence on Yaghoobpour’s painting is clearly discernible. It appears not only in the physicality of the brushwork but also in the tilted perspective that brings depth toward the surface of the canvas, the triangular compositions, the minimalist sensibility, and the dominance of white paint and raw canvas.
Trees and landscapes form the core of Yaghoobpour’s visual universe. When asked why depictions of trees remain unique despite their prevalence in painting, he responded: "The answer lies in your question. Each of these works has its own unique charm. Everyone depicts the tree from their own worldview. In Davood Emdadian’s works, the tree represents the grandeur and dignity of nature, while in Hossein Mahjoubi’s paintings, it conveys an ideal world. It is the artist’s mind that brings meaning. The tree is merely a pretext—through its branches, we ascend into the artist’s world."
Regarding the visual sources for his work, Yaghoobpour explains: "Many of my paintings are imaginative, but this imagination is shaped by images of nature stored in memory. Sometimes they may recall a specific place, but my goal is not to represent a particular site with objective accuracy."
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