Etemad Gallery 2018
Total art Gallery 2010
Golestan Gallery 2009

I took up photography seriously around twenty two years ago. It was 1996.
Every weekend, in the company of Abbas Kiarostami, I used to venture out of Tehran. Sometimes we’d go to Hamadan for a few days and from there we’d find ourselves in a small town or village around Kurdistan. Other times, we’d go up north and spend some time as the guests of Torkaman tribes.
Year after year, season after season, we’d photograph all the routes and passages which were taking us to our haunts, the house of Farshid Mesghali around Damavand mountains or Morteza Momayez’s house around Kordan. How wonderful was taking photos of these familiar places and drowning in the magic of time and moment.
I must admit that it was Abbas Kiarostami who made me re-discover photography as a serious craft; teaching me the intricacies of angles, skylines, framing and lighting. Sometimes the four-hour journey to the Caspian would take ten hours or tens of hours. We would continuously stop and take photos; waiting for the perfect light on a foothill or for passage of the wind through a tree.
of a collection of photos that I had taken during a trip which started from Kashan and Isfahan, continued to Lorestan, and ended in towns around the Caspian sea, which included Bandar Anzali, Rasht, Lahijan and Masouleh. In stretches during that trip, I encountered mother nature devoid of people, long stretched horizons and visually charming foothills.
This collection was also exhibited a year later at the Courtyard Gallery in Dubai.
For a collection called “Love”, I spent a week in the streets of Rome, photographing men and women, young and old.
My next collection,“Hands”, was, for me apersonification of love and togetherness.
After each trip, the photos would be printed and carefully scrutinised and discussed. We would select those which we liked best and put them aside. And it was such that photography joined reading books and scripts and translating as one of my daily habits.
Of course, those photos were never exhibited.
Day by day, the world of photography became more stimulating and important to me. I have taken, and continue to take, photographs in all my trips.
Nature photography is particularly appealing and humanistic for me. It is as though it re-opens my eyes to a world that I had forgotten.
My first photography exhibition, “Horizons”, was at the Golestan Gallery back in 1989. It comprised

I started the Doomed Bloom collection a couple of years ago and, after many ups and downs, managed to accomplish the images that I was after.
This was the first time that I would go, camera in hand, from countryside to the city streets and then on to the studio, where I would arrange the photos. My feelings were akin to a filmmaker/painter who has to assemble an eternal frame from her pictures. Death and its metaphor, withering, had shaken my world because I had lost my ever-present mentor and companion and was mentally struggling with this loss. The distressing news about Middle East at that time made me even more aware of the meaning of loss and nothingness; the feeling of isolation and loneliness in a dark and insecure world. All of these factors brought me to Doomed Bloom.

For me, however, photography still means Abbas Kiarostami and that childish delight with no pretence and being true to oneself. The aroma of a new frame, the sound of classical music and hitting the road.