HISTORY - Ali Adeli

HISTORY OF THE ARTIST

INTRODUCTION

Ali Adeli was one of the most surprising artists of the 20th century, leaving his refined signature across diverse fields such as graphic art, design, and architecture. His extraordinary and intercontinental journey, shrouded in mystery, was marked by a destiny both fascinating and tragic.

He was often described as an artist of many facets. But can we really reduce his genius to a thousand facets?

A graduate of the Fine Arts and the School of Decorative Arts of Tehran in interior architecture, he quickly made a name for himself in the artistic world of the Iranian capital.

Spotted by the royal family, he was entrusted with large-scale projects, including restaurants, villas, hospitals, and palaces. Everything seemed to be going in his favor, until the 1979 Islamic Revolution and the overthrow of the Shah turned everything upside down. Ali Adeli left Iran, fleeing across the world with a fake passport. After a grueling journey, he found refuge in Switzerland.

In 1982, settled in Geneva with his wife and 8-year-old son, he became a designer for Murano Glass, a renowned glass supplier. But it was in 1986, after the birth of his second son, when he flew to the United States, that his career took on a new dimension. He worked on interior architecture projects, collaborated with Hollywood film decorators, and even designed limousines for specialized companies.

However, in Ali Adeli's life, revolutions were not just political; they were also economic. The stock market crash of 1987 cost him, among other things, a massive contract and other major projects. Marked by these American disappointments, he returned to Switzerland with his family and settled in Fribourg, where he opened his studio, which also doubled as a gallery. It was here, in the intimacy of his studio, that he forged a new style.

Between 1988 and 1992, Ali Adeli created a line of unique geometric works, presented under the "Adeli Création" brand. His work transcended the traditional boundaries of art, merging elements of architecture and design into everyday objects such as tables, mirrors, chairs, and lighting fixtures. These creations attracted the attention of industrialists, who commissioned him to design metal ceilings, bathrooms, and other decorative elements.

In 1993, still in search of new challenges and driven by a desire to reconnect with his roots, Ali Adeli returned to Iran. In a country undergoing transformation after years of war with Iraq, he resumed his architectural career and oversaw the construction of the Park Miniature Tower in the famous Fereshteh neighborhood of Tehran.

However, while his return to Iran was professionally successful, it was also the final stop in his tumultuous and brilliant journey. On September 26, 1997, he tragically passed away in a car accident at the age of 51.

Though his life was abruptly interrupted, his art continues to shine. His philosophy, limitless creativity, and pursuit of perfection remain living testaments to his genius. As he often said, "great confidence in myself and quality work." With Ali Adeli, the unexpected was a constant. He taught us that no boundary is too high for art.

Ali Adeli
1996
Fribourg

ALI ADELI: A LIFE OF ART, DESIGN, AND ARCHITECTURE

BIRTH AND FIRST ARTISTIC VOCATION (1946 – 1966)

Ali Adeli was born on April 28, 1946, in Tehran, into a large family. He grew up alongside an older brother and five sisters, under the authority of a military father and a stay-at-home mother. From the age of eight, he developed a passion for drawing. However, his father disapproved of this vocation and constantly discouraged him, believing that an artistic career offered no future. This opposition became stronger when his older brother, lacking the same talent, tried painting and, faced with failure, was expelled from the School of Fine Arts and abandoned this path. This experience reinforced their father’s belief that art was not a viable career.

At the age of sixteen, despite his father’s opposition, Ali enrolled in the School of Fine Arts in Tehran. A year later, at seventeen, the premature death of his father, taken by an asthma attack, shook the family. With his older brother having left the household, Ali had to take on the heavy responsibility of supporting his mother and five sisters. Nevertheless, he persisted in his studies. To support his family, he worked in various painting workshops, where he had the opportunity to work alongside renowned artists in Tehran. Through hard work and passion, he won first prizes in several disciplines at his school, including painting, sculpture, and miniature art.

THE DECORATIVE ARTS (1966-1970)

However, a degree from the School of Fine Arts in Tehran was not enough for Ali Adeli. He decided to continue his studies at the School of Decorative Arts, specializing in interior architecture. While studying architecture, he continued to paint, participating in various exhibitions and galleries. In 1970, upon completing his studies, he won the first prize in the "Artistic Creation of Youth Palaces" competition, a prestigious distinction that earned him a position as a painting professor at the School of Decorative Arts at the age of twenty-four.

Ali Adeli (center, front row, in white shirt)
Faculty of Decorative Arts, Tehran - Graduation Ceremony
1970

MILITARY SERVICE AND FIRST PROFESSIONAL SUCCESS (1970-1974)

In 1970, after completing his studies, Ali Adeli served in the military. Six months later, he distinguished himself once again through his talent, and the officers appointed him as the head of an architectural project for a military base intended for the Minister of Defense.

In 1972, he joined the firm of Ghiaï, one of Tehran’s most renowned architects, who held the majority of major commissions, including those for the royal family. There, his exceptional talents quickly caught the attention of the monarchy. In particular, one of his works—a project perspective for one of the era’s most important palaces—so impressed the Shah of Iran that he decided to keep the original drawing in his personal office, where it is said he would admire it several times a day.

This royal recognition marked a turning point in his career. At the same time, Ali Adeli became the artistic advisor and interior architect at Ghiaï’s office, leaving his personal mark on several iconic projects.

His vision and expertise brought a new dimension to interior architecture, combining functionality and aesthetics with a keen attention to detail. This enhanced his reputation within the highest circles of Iranian society.

OPENING HIS OWN OFFICE AND ROYAL ENCOUNTER (1974 - 1979)

In 1974, the year of the birth of his first son, Ali Adeli met Firouz Anssari, the son of an Iranian ambassador close to the royal family. Together, they opened an interior design office, with Firouz handling business relations and Ali Adeli managing the projects. Their office experienced remarkable success, securing prestigious commissions, including villas and a grand palace for the royal family.

THE ROYAL ENCOUNTER AND THE REVOLUTION (1979-1980)

An exceptional encounter was destined to transform Ali Adeli's life. During the presentation of a villa, the Shah's older sister, Shams Pahlavi, was present in person. Enchanted by the innovative architecture of the villa, she requested to meet the architect in person. While Ali Adeli was overseeing the final details in the garden, he was invited to present himself to her. This meeting should have marked a decisive turning point in his career. Impressed by his work, Shams Pahlavi offered him the responsibility of several major projects, including the construction of ten villas for her guests in Tchalousse. Before boarding her helicopter, she shook his hand and expressed her enthusiasm for working with a talented Persian interior architect, stating that she intended to replace the Italian architects she had been working with until then.

However, the Islamic Revolution of 1979 radically altered the course of his life and career. Shah Mohammad Reza Pahlavi was overthrown, and the political and social situation in Iran changed dramatically, abruptly putting an end to all his projects and collaborations.

Ali Adeli & His Son Siavosh in His Arms and His Wife Fereshteh on the Far Right + A Couple of Friends
1975
Tehran, Iran

EXILE AND ARTISTIC RENAISSANCE (1981-1983)

The Iran-Iraq war forced Ali Adeli to flee his country in 1981. His journey took him from Karachi to London, and then to Rome, where he reunited with Firouz Anssari, his former partner, who had also left Iran shortly after the Shah's exile. This marked the beginning of a new chapter for the artist, signaling a definitive break from his past as he was ready to rebuild his career and offer the world his unique art.

NEW LIFE IN SWITZERLAND & DESIGN FOR MURANO GLASS (1982-1983)

In 1982, Ali Adeli settled in Geneva and began collaborating with a company specializing in the design and supply of Murano Glass products, as well as interior architecture projects for both Swiss and Middle Eastern clientele.

Although he had no prior experience in designing lamps or chandeliers, he seized the opportunity presented by this collaboration, which lasted nearly three years, as a challenge to push the boundaries of his creativity. With each project, he skillfully combined technical expertise and imagination, creating models that were both innovative, elegant, and refined. His creations, enhanced by a subtle interplay of light and forms, gained increasing success.

One day, during his collaboration, he received an unexpected commission to create a portrait of King Fahd of Saudi Arabia, with Mecca in the background. While the commission was honorable, Ali Adeli decided that once the artwork was completed, he would not sell it. He felt the piece was not fully realized in his eyes and preferred to keep it rather than part with it.

Ali Adeli in front of the portrait of King Fahad
1983
Geneva, Switzerland

A NEW TURN IN FRIBOURG (1984)

In 1984, a call from a former colleague at the School of Fine Arts disrupted Ali Adeli’s daily life. The colleague offered him the opportunity to replace him in a Swiss-based Iranian company in Fribourg as an artistic advisor for a book project, as he was tied up with other matters in Iran. Ali Adeli accepted the proposal, motivated both by the desire to help his friend and the personal trust he had in him.

He left Geneva and moved to Fribourg with his family. Although his collaboration with the company lasted only a year, this move marked a turning point in his life, and the city would later become the place where his family would thrive long-term.

AMERICAN EXPLORATION AND RETURN TO SWITZERLAND (1985)

In 1985, driven by the desire to explore new opportunities and expand his career, Ali Adeli decided to venture into America. With a network of contacts between Washington and California, he saw fascinating possibilities for his art. He first traveled alone to Washington to assess the market and experience the American atmosphere.

Later, his family joined him in California, but soon, an unexpected and happy event altered their plans. His wife was pregnant with their second child. After just three months in the United States, they decided to return to Switzerland so that his wife could give birth in a safer and more familiar environment.

Back in Fribourg in October 1985, Ali Adeli began a series of oil paintings, infused with the sensitivity and emotions of this pivotal time. This return to Switzerland, conducive to peace and creativity, marked a new stage in his journey, where art and family harmoniously intertwined.

Ali Adeli during his trip to the United States
1985
Washington - USA

Ali Adeli, his wife Fereshteh who is pregnant, and their son Siavosh
1986
Fribourg - Switzerland

"Les Tournesols" - Oil on canvas
Private collection
Los Angeles - USA

CONQUERING AMERICA (1986 – 1987)

In April 1986, after the birth of his second son, Kourosh, Ali Adeli decided to return to the United States alone, with the aim of relaunching his career in interior architecture and design. He planned to travel back and forth between Switzerland and the United States, separating his professional projects on one continent and his family on the other.

In Los Angeles, several companies quickly showed a keen interest in his work, reinforcing his decision to venture to the United States. The opportunities available to him seemed much more promising than those in Switzerland.

One of the first significant professional encounters Ali Adeli had in California was with the company of J.P. Barich and Suzanne Dahl, who specialized in Hollywood set design. They entrusted him with the creation of four sets for films, as well as for the famous television series Dynasty. His creations were quickly recognized as works of art, and he made this approach his trademark: art applied to architecture.

The projects he created for Barich & Dahl were featured in the company’s official catalog, distributed along the West Coast of the United States, further boosting his reputation.

Later that year, Ali Adeli met the specialized company Walter Jenkins, through Barich & Dahl, which entrusted him with a bold challenge: to reinvent the Lincoln Continental in three unique versions.

Impressed by his expertise, the company’s manager offered him the opportunity to take on this challenge. Despite having no experience in the automotive field, Ali Adeli accepted, believing that any great designer should be able to create in any industry. He then embarked on the project, combining creativity and innovation to redefine an American luxury symbol.

He designed:

An elongated limousine, majestic and fit for the most distinguished personalities.
A town coupe, where the elegance of a convertible roof captivated passengers.
A landaulet, merging refinement and luxury for prestigious events.
Thanks to his unique vision, Ali Adeli transformed the Lincoln Continental into a true rolling work of art, further confirming his talent across fields such as architecture, design, and automobiles.

Proposals continued to pour in, each from a different field, constantly fueling his creativity. After the limousines, the “Angel International Fine Art Inc.” gallery in Los Angeles commissioned him to create fifty numbered limited-edition paintings, inspired by an existing Art Deco design. The piece, entitled The Man and the Woman, was created on a wood surface, which was then lacquered in black. Once the composition was completed, he covered certain parts with gold and silver leaf, harmonizing it with other hues. The white, gradient areas were composed of eggshells, an innovative technique he particularly enjoyed.

These new artistic challenges, along with the exploration of new techniques and materials, brought him great satisfaction. In less than a year, all these projects were completed. However, the constant distance from his family and the frenetic pace of his travels began to make him question his lifestyle.

It was at this moment that he met an Iranian businessman, who offered him the opportunity to design the interior of his apartment in the luxurious Wilshire House in Beverly Hills. Many of the apartments in this building were occupied by Hollywood celebrities.

This project represented a golden opportunity, and the potential fees being considerable, it motivated him to continue his back-and-forth trips between America and Switzerland. In just one month, he designed the plans for the apartment and reached an agreement with the German firm Trüggelmann for the furniture. He envisioned the space as a “composition,” playing with the brass and marble inlays of the floor and the meticulous arrangement of the furniture.

Faced with the scale of the project, the director of the German firm, Mr. Trüggelmann, personally traveled to California to finalize the terms of the contract. However, despite all their efforts, the contract was never signed. Shortly after, the client, hit hard by the stock market crash of 1987, lost a substantial portion of his fortune on Wall Street, leading to the cancellation of the project.

This failure marked a turning point in Ali Adeli’s life. Deeply shaken, he chose to leave the United States for Switzerland permanently. This return was not only geographical; it represented a true internal revolution, an economic and personal readjustment that would redefine his career path.

RETURN TO FRIBOURG & GOLD IN ART (1987 – 1988)

Upon returning to Switzerland, influenced by his wife, Ali Adeli decided to set aside architecture and refocus on his art. However, he wasn’t sure where to begin, and a new period of struggle and self-reflection began for him. But confident in his talents, he thought about opening a gallery where he could display his works while also creating a space to work.

Not far from the Museum of Art and History, and close to the Saint Nicholas Cathedral in Fribourg, he rented a space to work and exhibit his creations.

To liven up the walls while awaiting the birth of his future works, he decided to showcase his finest oil paintings, created during the nine months of his wife’s pregnancy before his departure for the United States, at the gallery's opening.

Among the fifty Homme & Femme paintings he had created in limited edition for the Angel gallery in Los Angeles, he brought back two pieces to Switzerland to display in his gallery. These pieces were also presented in the exhibition space.

During the production of these works in the United States, Ali had taken advantage of a weekend to create a painting based on geometric patterns, using the same techniques as for Homme & Femme. He considered this painting one of his favorites and hung it at the entrance of his gallery.

Always eager to explore new techniques, Ali then embarked on the creation of a plaster bas-relief depicting the image of a woman. Inspired by his Homme & Femme paintings and styled in an Art Deco spirit, this bas-relief was entirely covered in gold leaf. He named it The Image of a Woman in Gold.

Ali continued his creative journey by further exploring the Homme & Femme theme, using the same materials: eggshells, gold or silver leaf, and spray-paint or brush-applied paint.

The first months were tough. Few people dared to step through the gallery doors, and financially, things weren’t easy for him and his family. But nothing could stop this determined man. He continued to work tirelessly, often for up to twelve hours a day, sketching, creating, and constantly experimenting with new materials in his studio.

Ali Adeli
1987
Fribourg - Suisse

FIRST CLIENT FROM FRIBOURG (1988)

His first client was a Swiss architect who, among all the paintings, chose the one with geometric patterns, hanging at the entrance of the gallery.

From that moment on, his artistic motivation shifted towards geometry and kinetics, inspired by one of his favorite painters, Victor Vasarely. He then began creating another bas-relief, still in plaster. This bas-relief would unknowingly become, at first, the cornerstone of all his future creations: the symbol of the "Cube."

A new generation of paintings and artistic mirrors, under the "Adeli Création" label, would be born, inspired by the "Cube."

First Geometric Painting / 1987
Private Collection
Fribourg - Switzerland

CREATIVE GEOMETRIES: ALI ADELI’S INNOVATION (1988 – 1991)

Drawing from his experiences and inspirations, Ali Adeli gradually developed an artistic approach that merged the rigorous principles of architecture with the fluid and dynamic expression of abstract art. His work, in particular, focused on a series of paintings that reimagined the concept of perspective and space. Instead of adhering to the traditional conventions of painting, he chose to base his compositions on geometric shapes, particularly cubes and other three-dimensional elements, thus creating an illusion of depth and movement.

The originality of his works lies in the fact that the very shape of the painting became an integral part of the composition. By eliminating the traditional frame, he gave each piece a unique visual identity, where the structure and form extended beyond the boundaries of the canvas. This approach, inspired by his architectural experience, aimed to offer an immersive experience, where the artwork became a dynamic component of the space it occupied.

Ali Adeli’s principle was to work on each painting using specific MDF wood supports, which he had custom-made by local carpenters. Each support was meticulously prepared, much like a bodywork specialist preparing a car before applying paint. The artist would then use a careful lacquering technique, applying several layers of carefully selected colors. Before this, he would precisely sketch his graphic compositions, ensuring that each painting was structured yet fluid in its visual expression.

This particular process allowed his works to create a visual experience that blurred the boundaries between art and architecture. Through a subtle play of color and architectural composition, he succeeded in imparting a sense of movement and optical illusion to each work while establishing a dialogue with the surrounding space. Each painting became a focal point that, through its perspective and depth, engaged the viewer in a constant game of perception.

The lacquer work, executed with unmatched precision, gave each painting a unique brilliance. This particular quality made the artwork come alive, changing its appearance and intensity depending on the angle from which it was observed or its position against the wall, thus enriching the viewer’s experience. This constant interaction with space allowed the art to integrate harmoniously with its environment, offering a new dimension to the perception of interior space.

Ali Adeli did not limit himself to creating standalone works of art: he viewed every decorative object, whether mirrors, tables, or lighting fixtures, as a potential medium for his geometric explorations. His goal was clear: to give every everyday object the same visual strength and aesthetic imprint as his paintings. He wanted each piece, regardless of its function, to be instantly recognizable as an artwork signed by Adeli. His ambition extended beyond creating decorative items; he sought to imbue space with a cohesive and unique visual language, merging art and design into a unified experience.

This fusion of architecture, design, and art allowed Ali Adeli to create an aesthetic universe where each element, whether utilitarian or purely decorative, found its place in a holistic composition. In this way, he transformed everyday objects into true functional works of art, where form and beauty intersected. His work redefined interior space by bringing a new artistic dimension while embedding his personal visual language in each piece. Thanks to this approach, he gave his creations a permanent place in the world of art and design, making them timeless and unique.

EXHIBITIONS IN SWITZERLAND AND INDUSTRIAL COLLABORATIONS (1991 - 1993)

In the following months, Ali Adeli participated in several exhibitions across Switzerland, where he offered the public a unique visual experience. These events allowed him to share his geometric vision, while attracting private clients, each artwork becoming a valuable addition to interior design projects.

His exhibitions notably caught the attention of industrialists in the architectural sector. He was sought after to design elements such as metal ceilings, wall panels, and metal cabinets for the Godel company, integrating his geometric creations into office spaces.

Ali Adeli also collaborated with renowned Swiss companies, such as Franke for bathroom fittings and Galvolux for mirrors. By combining visual beauty and practicality, he succeeded in redefining interior spaces, transforming his art into functional elements while maintaining his creative imprint.

Ali Adeli also collaborated with renowned Swiss companies, such as Franke for bathroom fittings and Galvolux for mirrors. By blending visual beauty with practicality, he succeeded in redefining interior spaces, transforming his art into functional elements while preserving his creative mark.

Exhibition of Adeli Création
1990
Switzerland

EXHIBITIONS

THE RETURN TO IRAN, FINAL STOP BEFORE THE TRAGEDY (1993 - 1997)

Between 1993 and 1997, after twelve years of absence, Ali Adeli made his return to Iran, a country in the midst of reconstruction following the end of the Iran-Iraq war. Under President Rafsanjani, new economic and modernization efforts were underway, creating fertile ground for development. It was in this context that Ali Adeli retrieved his Iranian passport from the Iranian embassy in Bern and returned to his homeland, determined to relaunch his career.

His arrival did not go unnoticed. He was quickly spotted by two developers involved in an ambitious project: the construction of a 13-story tower in the upscale Fereshteh neighborhood of Tehran. The project was still in the foundation phase when the developers made the radical decision to break their contract with the initial architect and hand the project over to Ali Adeli. While the building’s footprint remained true to the original design, he completely reinvented the façade and the interior design of the floors, leaving his unique mark on the project. The project was named "Park Miniature."

His technical office was set up on the ground floor of the tower under construction, and over the years, he fully dedicated himself to the project. In parallel, he oversaw the creation of two distinct penthouses for the two developers, located at the top of the tower. Today, many years later, the tower remains one of the most iconic in Tehran.

This would be his last major project. In September 1997, just a few weeks before the completion of the work, a tragic car accident occurred on the road between Tehran and Hamadan in the northwest of Iran, bringing a sudden and brutal end to his journey. His wife and two sons, aged 11 and 23, were left grieving in Switzerland. His fate was sealed in an instant, just as he had always wished: a quick and sudden death, without agony.

The Park Miniature Tower
Facade Under Construction
1995 / Tehran - Iran

THE TIMELESSNESS OF HIS ART: THE LEGACY OF ALI ADELI

The two penthouses were completed after his passing, under the supervision of the remaining team, bearing witness to the indelible imprint of his creative genius. The tower project, to which Ali Adeli dedicated a large part of his final years, continued, but the world lost a visionary whose legacy endures today, as a great artist who lived an incredible life marked by creativity and boldness.

In parallel with his architectural career, Ali Adeli also left a rich artistic legacy. Alongside many of his works scattered around the world, a portion of his creations is carefully preserved by his family. Among them are some of his geometric designs and his paintings that evolved over time. Today, whether in Switzerland or elsewhere, his art continues to reflect his unique sensibility, touching those who have the opportunity to experience it.

Ali Adeli (During one of his last visits to Switzerland)
1997
Lausanne - Switzerland

In tribute to Ali Adeli, this website was created by Siavosh Adeli, his eldest son. Just like his father, Siavosh Adeli pursued a career in interior architecture and design, continuing his father’s creative legacy.

This narrative has been drawn from archives, documents, photographs, and numerous family testimonies.

Through this story and these works, Siavosh Adeli aimed to highlight his father’s fascinating artistic career and provide access to Ali Adeli’s art for future generations.