The image emerges from the wall itself, rather than being placed onto it.
The first intervention in the Surface as Memory series, where the initial framework of the project began to take shape.
Selected (Second Prize), National Mural Biennial – Tehran Municipality, Iran, April 2014
This work started
from the condition of the wall itself.
Like many urban
surfaces in Tehran, it was already fragmented—marked by layers, damage, and a
lack of visual coherence.
Instead of
covering these conditions, I worked with them. The composition developed in
direct response to the structure and material of the wall, allowing the image
to form within what was already there.
The visual
language draws partly from Persian miniature painting, especially its spatial
logic, but it is not used as a reference to be repeated. It is rethought in
relation to the urban surface.
The figures
appear in the process of dismantling and reconstructing a fragmented structure.
This is not a fixed narrative, but a way of responding to the instability of
the environment itself.
A figure emerging
from above introduces a shift within the scene—something between disruption and
transformation. Rather than presenting a finished image, the work remains tied
to the condition of the wall, where material and image cannot be separated.
