As an independent visual artist, I have spent a considerable part of my life searching for the most direct path toward building a sustainable life of my own—from pursuing different fields of study to experiencing life in different lands. A brief account of my educational journey and achievements is as follows:

• High School Diploma — Medical Science School
• Hotel Management Diploma
• Academic Study of Foreign Languages — German, French, and Turkish, in Iran
• English for Academic Purposes (EAP) — Algonquin College, with Honours
• Design Foundation Certificate — Algonquin College, with Honours
• Graphic Design Diploma — Algonquin College (forthcoming)

My focus lies upon an ocean of turbulent waves—composed of infinitesimally small particles that surround the world we inhabit, yet remain hidden from the sight of us humans, confined as we are within the limits of perception, for an indescribable eternity. These are precisely the places where the God resides, calling us toward himself to join him, to integrate with him fully, and ultimately to become his image.

My primary specialization is the creation of entirely imagined visual compositions. Consequently, the principal digital tools I work with are Adobe Illustrator and Adobe After Effects. I also possess a solid command of traditional drawing practices rooted in the methods of earlier generations, as well as entirely digital approaches built upon artificial intelligence. I have therefore drawn upon all of these tools and disciplines in creating this online collection—as a mirror intended to reflect my true identity: the man behind the mask, the questioning man.

As a questioning artist, throughout the relatively brief span of my life, I have found myself under the influence of countless ideas and schools of thought. Among them, within the realm of modern painting, I can name Cubism and Surrealism. Yet it should hardly come as a surprise that, before any other artistic inclination, I—like so many others—became captivated by my encounters with the art of Classical and Renaissance European painting.

One cannot speak of painting while entirely overlooking the art of sculpture, nor can one speak of sculpture without invoking the great sculptors who gave form to the astonishing and tangible image of the human being. Michelangelo and Rodin, to my mind, stand among the most renowned and unforgettable names in the brief history of humanity.

Within the vast realm of literature into which I have ventured thus far, I can point to Russian Realism, and to masters such as Dostoevsky and Tolstoy—figures who opened before me a world at once profoundly terrifying and filled with profound moral lessons.

Yet this particular literary tradition constitutes only a small fragment of the worlds discovered by my curious eyes. It would be impossible to overlook the tremendous blows delivered by the turbulent waves unleashed through the volcanic eruptions of the inner worlds of such figures as Franz Kafka, Sadegh Hedayat, Gabriel García Márquez, Orhan Pamuk, Yukio Mishima, and so many other influential literary voices whose worlds have crashed upon me with formidable force.

I must then turn to the philosophers and profound thinkers who, more than any others, challenged my identity and intellectual foundations, only to reconstruct them anew: Socrates, Omar Khayyam, Niccolò Machiavelli, Friedrich Nietzsche, Søren Kierkegaard, Albert Camus, and Yuval Noah Harari.

And finally, almost as a litany of names, I must acknowledge those wise human beings who illuminated my world with the boundlessness of their knowledge: great minds such as Sigmund Freud, Émile Durkheim, and Carl Jung.

Approach When it comes to the creation of an artwork, regardless of the artistic medium in which I choose to enter the arena of struggle with the void, my approach has always been one of uncompromising pragmatism. As a result, most of the time I begin without predetermined expectations or preemptive judgments, stepping directly into the heart of the terrifying storm that is moving toward me. The common thread between the creation of my visual works and even the endless texts I have written is that the final work is always the outcome of my ceaseless struggle with the world that surrounds me. The most precise description of this process is perhaps the painful yet deeply worthwhile grappling I undertake with the forces who have left me awestruck by their grandeur and magnificence. The final result never contains every fragment of myself, nor every fragment of the world surrounding me. Rather, it is born from a strange and terrifying fusion with a world armed to the teeth. A sacred act of creation, undertaken to extend an existence that is utterly fragile and unstable. It is as a consequence of this approach that a significant majority of my works take on a wholly imagined, and at times profoundly inventive, character—often leaving the unfortunate eyes of the viewer momentarily transfixed.