My work for the past ten years has focused on nostalgia, identity, history, and creativity that have a profound impact on our culture today. My art merges imagination and memory. In the current climate where many believe history and nostalgia have no relevance, I find myself continually returning to those aspects that are often hidden or misrepresented in the official recordings for posterity. In my varied and diverse approaches to making art, photos, packaging design, and advertising, the context of the work has an impact on its relationship with the audience.

 

I have always been interested in details, patterns, and styles. My work ranges from the context of street photography to family photos in an album, details of old pictures, etc. The artwork takes on various forms intended to draw in the viewer as co-author and witness, create new and unpredictable cycles of thoughts and associations, and provide an experimental chance to challenge the audience's perceptions, perspectives, and assumptions.

 

My current project, It Was a War in Those Days, is the culmination of my exploration, combining old pictures that remained from the war between Iran and Iraq with new typography Literature left over from the war. These projects evoke a livelier time in a way that is more nostalgic with sentimental modern life.

 

Art remains a strong contender of how we share our thoughts and ideas. Throughout history, art has survived the tidal wave of information and remains an unpredictable source of imagination. It has the possibility of opening new ideas and borrowing through received thoughts similar to our educational system. I have no grand illusions that art will create a revolution in the traditional sense, but have witnessed the compelling changes it can make in an individual. Just one new idea can change an individual's perception. The world may not change in an instant by art, but its slow and insipid spread into the active part of our brains' lives to tell the tale. It may leave the studio and make its way around the world, and yet come back to the studio where anything can happen.

I am often looking for avenues of the unexpected. An ironic twist to images or things you might expect, or their combinations; provoking a participant to explore new and perhaps unexplored territories.