- When and how did you start to paint?
I started in 1996 when I began to study at the University of Tehran. I can however say that painting has becoming something more serious and a stronger commitment when I left the University and the Academy.
- Can you tell me about the focus in your paintings?
Probably I could say that the focus of my painting practice is related to the possibility it gives me to work around and about identities starting from real spaces. In my work I usually start from locations that exist physically and that I try to change, to fill up or to empty in order to create something that at the end comes out completely transfigured. In this way I think I am able to give a comprehensive significance, at least for me, to the continuous change of identity, to the constant twisted dimensions that are the basis for the construction of the self-hood. This is the central idea of my artistic practice, as a constant element in my works although expressed in different forms.
- How would you define the sense of migration, both physical and emotive/mental?
I define it as a human right. Every human being should feel free to move around the world. If it was, I believe that from every migration could born a pleasant and happy story, although difficult and non-linear. But I do know that is not the case. There are absurd rules and useless borders that we invent constantly. Thereby, the migration cannot become other then what we see nowadays thus a reaction to desperation. All this in-side burden that is accompanied and added to the objective complications, leads inevitably to a deep sense of emptiness that someone fills up with something he has on his disposition such as nostalgia and identity problems.
When identity becomes a problem that you are able to solve, then that nostalgia turn into poetry; but if you are not able, the difficulties become serious. This is the risk: to remain in a sort of unclear state between the past that you miss and the present in which you constantly ask yourself who you are and who you will happen to be.
- What is the painting practice for you?
I start from far away saying that painting for me is a gesture or an action that accompanies me since my childhood in which I found pleasure. That kind of pleasure went and goes with me until now, although the intensity and the importance obviously changed a lot. Now I know that in my painting practice I search a sense of balance, as in the real life. But the sensation that painting gives me it's surprisingly really close to the original pleasure.