The Contemporary Birds as the Origin of Creative Games,

Interviewer: Sahand Adam Aref. We can establish a relation between your former works like “Warning Signs” pictograms and even Shākh-e Nabāt and the recent exhibition works. Would you please tell us about such a trend and the similarities? My first exhibition was held in 2004 in the Artists’ Forum. In that time I was working on three words: “thought”, “grief” and “laughter”. I was then trying to formulate different kinds of thought, grief and laughter by using nasta’liq script. My works had been transformed into logograms. I later turned such logograms to urban warning signs where they would adopt a more figurative form. Such experience is connected with my studies on writing elements and the figurative potentials of nasta’liq script. I want to make use of such calligraphic potentials without going through definite process of image-making. I sometimes do so by shifting the formal elements, so that they represent body variations.