email: art@yasami.com
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“The Magic of Deception Exhibition” included one of Yasami’s large paintings at Muckenthaler Cultural center, July 1988 in Fullerton California. “In Equilibrium” is a great example of how art and mathematics can intersect in a meaningful way. Yasami’s ability to blend illusionism with the precise, structural qualities often found in math or science is a remarkable achievement. The fact that a painting of his was chosen for the cover of a calculus textbook speaks volumes about the intellectual and aesthetic appeal of his work. It’s not just visual; it sparks curiosity and even invites viewers to think critically about balance, symmetry, and perspective in a way that connects to both art and academic concepts.
Illusionism in art often requires incredible technical skill, and Yasami seems to have mastered that while still offering a deeper layer of meaning. His work probably served as a visual metaphor for the equilibrium and dynamic tension found in calculus or mathematical theory, which is pretty cool when you think about it. Other works of Yasami have been used in similar academic contexts or exhibitions? I can imagine them being explored in both art history and even in discussions about the intersection of art and science.
“In Equilibrium” was selected for the cover of Calculus College Text Books by Publisher Harcourt Brace Jovanovich sold in every university in America, Similar painting is below.
Please click above image for detail and availabilty
Masoud Yasami’s paintings, much like the works of Caravaggio, delve into the exploration of reality through a unique lens that combines intuition and a deep engagement with the natural world. Yasami’s intent seems to be not just to replicate the physical world but to capture the essence of reality through the interplay of light, shadow, and color, creating a compelling illusion that invites viewers to experience a deeper perspective.
Caravaggio is renowned for his use of chiaroscuro, a technique that emphasizes contrast between light and dark, enhancing the three-dimensionality of his subjects and instilling a sense of drama. Similarly, Yasami may utilize light and shadow to create depth and texture, evoking emotions and provoking thought about the nature of existence.
Both artists share a profound connection with their subjects; Caravaggio often depicted biblical scenes with stark realism, while Yasami’s work might reflect broader themes of existence, perception, and the interplay between the seen and unseen aspects of life.
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