Persian script, apart from its orthographic and semantic significations, enables the artist to create fresh structural compositions and shapes such as calligraphy, ugly-writing, scrambling and restructuring which could contribute to unprecedented constructions. I take this realm as a rebellious point of departure from the limitations that writing has imposed on me for years. Hence, by applying script onto my compositions, I have tried to transcend beyond the frontiers of my dreams and visual experiences towards an encounter with the Nature, the human being, history and the painting itself.
These images are replete with sentimental actions in such a way that explaining them would be in vain and they represent nothing more than what has been depicted.
Conscious and introspective references that take form in symmetrical shapes approach abstraction and find musical rhythms, where they merge with the scripts bereft of lexical meanings and facilitate the appearance of objectivity in a frame that has the least distance from the audience.
In fact, the last layer of the work is where my mental struggles with reality begin and human beings with all their primordial actions ranging from war and enmity to companionship and amity step in. Such anthropomorphic representations have been borrowed from among the Iranian paintings as part of my visual memory as well as from my own life and imagination. Delving into time and space, I bid, in this collection, to express what cannot be spoken or written, yet shall be sought for amongst the dreams, imaginations, and in a corner of life.