My work begins with drawing: a charged line, a stain, a shape that appears before I understand it. From there it grows into paintings, sketches, posters, photographs and hybrid digital pieces, but everything starts with that immediate mark made from feeling rather than plan.

I work with ink, acrylic, graphite, collage, photography and AI-generated images. Sometimes the surface is raw canvas, sometimes a printed photo, sometimes a digital screen. Figures, objects and symbols are pulled apart and rebuilt through scratching, erasing and layering until they feel closer to a psychological state than to a clean depiction of a person or place.

Certain themes keep returning: freedom and control, bodies under pressure, collapse that starts quietly inside, shame, fear and the wish to disappear while still being seen. Growing up and working in Iran, these are not abstract ideas. They appear as tension in posture, fragments of Farsi text and political or social references that sit just beneath the surface.

My background in graphic design shapes how I construct posters and text-driven pieces. Typography and layout are used less as decoration and more as structural tools to compress emotion, critique and atmosphere into a single frame. In other works, I use AI images and photography as scaffolding, confronting machine-made or documentary scenes with my own hand to create spaces that feel real but never existed.

I am not interested in simplified solutions or slogans. Each piece is a record of a moment when language failed, and image had to take over. If someone recognizes their own private tension, grief or desire for freedom inside the work, then the image has done enough.