Some works of Manouchehr Yektayi, including the present one, raise a major question, “Where is the borderline between abstraction and representation in art?” Does induction of optical illusion tend to bring an abstract work closer to a representational one? With a remarkable ability to play with thick layers of paint and control strong brushstrokes, Yektayi is presenting fragments of the nature in every corner of the work, as in Japanese Haiku, in a milieu of abstraction and fluid illustration of the nature. The work presents an “instant” that assumes a new form every single moment. As philosophers believe, an “instant”, indeed, is an inexpressible quality of beauty that is perceived intuitively – just like what we see, or try to see, in this painting. Snow-clad valleys and mountains or wild nature are seen through these bold, textured colors. It is sometimes just a colorful abstraction that feels like poetry. This colorful expanse clearly reveals the poetic sense of Yektayi’s painting. That is why when we are looking at the painting, words appear and a painted fantasy turns into words. Uneven and rough The sun, rock and rain Struggling through a tight crack Blossoming of arum Looted the aroma Worms, bees and winds Manouchehr Yektayi, New York, May 1959
 Short Japanese poems with a usual theme of nature.
 Poetry of Manouchehr Yektayi in the book Crooked, Unhappy and Witness, Rozan Publishing, 1996