The surface is marked by dark, fragmented forms that suggest impact, instability, and the lingering presence of violence. Drawing from the visual language of Persian miniature painting, this tradition is reinterpreted through abstraction, allowing memory, conflict, and environment to merge within a single field. Amid the density of the composition, small floral elements emerge across the surface. These are not decorative; they function as quiet acts of persistence, interrupting the weight of destruction with subtle signs of life. Rather than separating devastation from beauty, the painting allows them to exist simultaneously. The garden does not disappear-it endures, even under fire.
Works are made with an original technique developed by the artist — each surface built by hand with a handmade tool into a woven topography.