How and when did you develop your career?

Entering the art and Technical School in 1990 was the start of my professional activity. I selected miniatures under the supervision of Mr. Mohammad Bagher Aghamiri and continued my education to the postgraduate level. My father was a great artist and helped me to learn sculpting and designing.

The idea is a crucial element to demarcate an artwork; what are the influential elements in your works?

As mentions above, I practiced miniatures or Persian miniature during school days, although I ignored it later, it became an inseparable part of my works. The essential role of introverted cinema and the author of Eastern Europe and Russia is undeniable in my artworks. In this kind of cinema, the executive makes an unbelievable value to all images and selects them carefully. These images, the development of new tools, and entering the field of gravure in 1999 characterize my works.

What are the themes and topics of your art?

I choose different things then investigate them sincerely like the glass rooms, Made in Chernobyl, Doom, and Crib. These projects reflect human society critically. For instance, the number four reactor in the Chernobyl series symbolizes a big society, not merely the Chernobyl. Worth mentioning that traveling to a specific country or counseling with the relevant embassy in Iran was neccessary must to acquire more information beyond the books and essays.

Do you have a unique style? Does it change during the time?

I think it was answered above. According to my personal experience in Persian miniature, the answer is positive. The Herat, Tabriz, and Isfahan Schools paved the way to the birth of my works.

You established the first printing studio at Tehran university; please elucidate the challenges.

Yes, it was a challenging way! As you said, the first printing studio was established in  2001, and my efforts continued to update other site’s standards. Letter writing is an indissoluble part of the government organizations to confirm tiny changes, and I have been writing many letters in the last 20-years to provide a relative standard in this studio. The studio is equipped with advanced printing devices, various handheld printers, air conditioners, and immunization tools. So let’s confess that the Fine Art College is equipped you to my efforts. I furnished the International College of the Fine Arts printing studio of the University of Tehran in Kish Island.

Do material and technique matter? What are the selected techniques and materials of your artworks?

Then the answer is negative, and the technique is not essential. I do not accentuate technique, but the worldview and unique mentality of an artist who may benefit from a utopian, realistic, fantasy, and dark, are considerable. I emphasize the details of miniatures due to the long experiences in this field and its techniques. Gravure has to do that because of its high technical potentials in the creation of a work.

You have been to a significant number of international exhibits and events and acquired many prizes and honors, so what are the effects of participating in the exhibits for branding and presenting an Iranian artist? What level is required to be able to participate in International Events and exhibits?

I participated in many international exhibits, including Italy, Germany, Russia, Spain, Japan, and America. The opportunity to know brilliant international artists helped me to introduce Iranian arts. During the 2010s, I was nominated to receive the prize in Italy, and the judging team was surprised to hear about this art in Iran. I am well-known in Madrid design clubs, and my artworks are presented to art lovers, which is heartwarming. The clear answer is yes; the artist must be branded, so creating connections with other countries due to the provided limitations is necessary. Some of the young artists send the initial and primary works to the international exhibits. It is recommended to be patient and send the best works.

The artwork might be influenced by the mental and biological condition of the artist. Must it be interpreted as the artist likes, or is the audience free for interpretation?

The artworks are influenced by the lifestyle and mental condition of an artist. However, the audiences at each corner of the Universe are welcomed to interpret the work according to their mentality and life condition.

Do you believe in academic education? Does it improve artistic skills?

Academic education does not influence an artist’s work as nobody asks where and what does Tarkovsky study. What matters is the artists’ efforts to increase their knowledge and understanding of the surrounding environment.