My work explores the concept of hybridity within cultural identity, particularly related to the Iranian-American experience. Inspired by mythological narratives, present-day imperialism, voyeurism, and the female body as a metaphoric site of social and individual trauma, my work is an attempt to meld the two cultures that inform my personal experience.

My work extracts forms from bodily gestures and movements and suspends them in a flattened constructed plane. Inert and abstracted, these shapes take on new roles, cast simultaneously as isolated objects and as parts of a larger composition, affecting the gravity and balance within an implied space.

My practice involves playful manipulations of flat material and the intricate balance of sculptural construction. Though my work exists in its relationship to a white wall, much like painting, I activate the space occupied by the viewer outside the confines of the wall. Paint is employed as a reference to the seemingly familiar, while the space created by the work transports the viewer elsewhere. I am interested in the illusion of perspective and in transforming two-dimensional painting into a new form.

Paint attracts me when it hinges between representation of something and its own descriptive potential. The subject matter I am interested in consists of objects that are tactile and consumable. A painting creates a divide, limiting our senses to sight, with touch referenced only by the residual mark of strokes. The method of painting is a seductive device in its description of the objects; the image references the actions of construction. The marks are attractive in their own right, holding validity as a description of paint, and allowing moments of ambiguity within the image.