As an artist, my journey has been one of persistence, passion, and a profound connection to my roots and personal experiences. From an early age, I was drawn to art. At nine, my father arranged for me to take art lessons in Tehran. Although I lost him two years later and had to discontinue formal lessons due to financial challenges, my love for art had already taken root. These formative years encouraged me to explore creativity independently, nurturing my curiosity and self-expression. My artistic path became more defined when I received a full scholarship to SUNY Plattsburgh. There, I committed fully to becoming an artist, developing technical skills and finding my voice. Upon graduation, I chose to return to Tehran instead of pursuing further studies. This decision opened doors to unique opportunities that influenced my artistic perspective. In Tehran, I worked as a graphic designer for Kayhan International and later as a drafts person at the Museum of Iran Bastan/Center for International Archaeology. Collaborating with American and French archaeology teams, I documented ancient artifacts and historic sites, which deepened my appreciation for cultural heritage. I later joined the Museum of Golestan Palace, where I further honed my understanding of design and history. These experiences, leading up to the 1978 revolution, profoundly shaped my artistic lens. In 1983, I moved to the United States, eventually settling in San Francisco. After working various jobs to support myself, I found a position at the University of San Francisco (USF). While there, I earned a Bachelor’s degree in Museum Studies with a focus on graphic and gallery design. However, after an internship at the De Young Museum, I realized that curatorial work was not my calling. I returned to school to earn a teaching credential in art, followed by National Board Certification and a Master’s degree in Educational Technology. These qualifications allowed me to teach art in San Francisco high schools and later as an adjunct professor at USF until my retirement in 2018. Throughout my life, painting has been a constant source of solace and expression. From setting up an easel next to my bed in the early days to maintaining a studio at Hunter’s Point Shipyard, I have always prioritized my artistic practice. My Persian roots are evident in the intricate details and poetic themes of my work, while bold brushstrokes and large-scale canvases reflect a desire to break free from tradition. Influences from architectural history and my love of nature infuse my work with depth and narrative. Looking back, I see a clear connection between my life experiences and my artistic evolution. Each chapter has contributed to my growth as both an individual and an artist. Through my work, I strive to honor these experiences while continuing to push the boundaries of creativity, drawing inspiration from both the past and present. "I’ve learned that when deciding what to show my viewers, I often include the entire scene on my canvas but bring only certain elements into focus—guiding their attention to what matters most. The rest is subtly suggested, serving to enhance the main attraction. Sometimes, the details are just as important as the message and the mood the painting conveys." To start a new painting, I wait for a subject to "speak" to me. In the meantime, I either do small studies or work on paintings that still need attention. One advantage of working on multiple paintings simultaneously is that I never run out of subjects to paint. Typically, by the time I finish one painting, another is already on the horizon, waiting to be started. Once I decide on a subject, I spend time observing, focusing, and studying it to determine the best approach. I think of painting as solving a problem, much like a math or science formula awaiting resolution. Each subject is unique, requiring its own solutions. My first step is to envision the completed painting in my mind and then develop a strategy to approach and execute it. Lately, I’ve been embracing all the skills I’ve honed over the years, combining a more classic approach for the background and distance with bold, thicker brushstrokes as I work my way forward. This method gives me greater control and allows me to achieve my desired results by blending the distant past with modern approaches and techniques.
