CAN YOU SHARE WITH US YOUR EARLY INFLUENCES AND WHAT SPARKED YOUR INTEREST IN CALLIGRAPHY AND GRAPHIC DESIGN?
Regarding the choice of calligraphy, I can say that it was not a choice. In fact, my childhood experiences were full of the times when I was introduced to special inks and colors in my father’s carpet and carpet materials room and used them to make colored inks for myself. Since childhood, my mind and imagination were full of various patterns and colors, and when I learned to write in the first grade of elementary school, I would write my classmates’ names in typography on their completed homework notebooks, although at that time I didn’t even know the title of the work I was doing and was only interested in sign design and graphic arts.
HOW HAS YOUR ROLE AS A PROFESSOR AND UNIVERSITY TEACHER INFLUENCED YOUR APPROACH TO ART AND CALLIGRAPHY?
Studying in the field of graphics and a PhD in Modern calligraphy were actually complementary to each other for me. First, I became familiar with the category of letters and the use of graphics and layout and all the principles of graphics, which was able to further, complete my knowledge in the field of calligraphy-painting. Then, by studying in the field of art research and the branch of modern calligraphy, I conducted extensive and unique research that further completed my previous information and knowledge. During the years of teaching and holding specialized workshops, I always tried to transfer this knowledge in the best possible way and pave the way for students and those interested in these fields, and these teachings have also been new experiences.
WHAT ARE SOME OF THE MOST MEMORABLE EXHIBITIONS OR PROJECTS THAT HAVE SIGNIFICANTLY SHAPED YOUR CAREER?
Being a member of the Cité de Paris Artists Association and participating in this study opportunity and visiting forty art museums in Paris for members of this association was a very valuable opportunity for me. During my years of study, we read articles and saw pictures from the history of Western and Eastern art, but being physically present and visiting the works in museums was a very valuable and effective experience. But definitely, holding solo exhibitions that I have held in recent years in the Persian Gulf countries, especially the UAE, provided me with good feedback and opportunities, which led to attention in the Oriental Romance collection.
HOW DO YOU VIEW THE RELATIONSHIP BETWEEN TRADITIONAL IRANIAN CALLIGRAPHY AND CONTEMPORARY ART FORMS?
Modern Calligraphy is actually a type of painting in which we use letters, words, and numbers as visual elements in a mostly abstract work. Modern Calligraphy has painterly visual components and a more transboundary visual language. While calligraphy means writing letters and words beautifully while observing predetermined and classical principles and rules. So combining the two together creates a much more tangible world for the audience, especially the Persian Gulf audience, because the letters and words are somewhat common and familiar. I can say that Modern- Calligraphy came along and saved traditional calligraphy from becoming obsolete!
CAN YOU DISCUSS THE PROCESS BEHIND CREATING YOUR MAJOR WORKS, SUCH AS 03 THE HANDWRITTEN QURAN ON COWHIDE LEATHER?
Years of experience in painting, working with various types of calligraphy, and studying and working in the field of graphics have distinguished my works in terms of form. Fluency, simplicity, speed, improvisation, the presence of errors, and originality are among the values of the artworks I create. I never sketch or make a work in advance, and in fact, I am never aware of the final outcome of the artwork. My idea is at the tip of my pen, which I always reach during execution, and I am simultaneously thinking about ideas and executing. I really like this kind of oriental perspective in the execution of my works. Given my academic education in art, more than 20 years of professional and continuous activity in the field of calligraphy and calligraphy-painting, and mastery of many types of scripts, I tried to present my artworks in the Persian Gulf countries more, a suitable and appropriate presentation can certainly add a special attraction of this region to artists like me and other talented young ones.
WHAT CHALLENGES HAVE YOU FACED IN PIONEERING NEW STYLES WITHIN THE REALM OF CALLIGRAPHY, AND HOW DID YOU OVERCOME THEM?
I must say that there are three groups of artists active in the field of calligraphy; calligraphers who master the principles of calligraphy, painters who master the technique and execution, and graphic artists who know more about form and space. Fortunately, I consider myself part of all three categories, as years of experience in painting, working with various types of calligraphy, and studying and working in the field of graphics have been able to distinguish my works in terms of form. My special attention to composition and its diversity, influenced by the graphic perspective, mastery of various types of classical lines in performances, along with decades of experience in working with the graphic perspective that I have in my works, have led me to have more diverse and different performances that have also been popular with the audience.
WHAT ADVICE WOULD YOU GIVE TO YOUNG ARTISTS AND CALLIGRAPHERS ASPIRING TO INNOVATE WITHIN TRADITIONAL ART FORMS?
Young and talented Iranian artists who may be active throughout the greater Iranian region should always strive to acquire new information, practice and practice in performances, and continue on their path. The most important factor is not to be afraid of creating new works and performing continuously by observing the right principles so that they can improve and progress every day. Working hard is never a sign of superiority, but creating work correctly and creatively can be the right and unique way for every young artist to be recognized by the world and pave the way for their progress by participating in international events, especially in the Persian Gulf region.
LOOKING AHEAD, WHAT PROJECTS OR ARTISTIC GOALS ARE YOU MOST PASSIONATE ABOUT PURSUING NEXT?
My interest in the world of art and creating works has been a part of my life and daily routine for years. I don’t think there has ever been a moment since I was a child when I distanced myself from this feeling and world, and in fact, what has occupied my attention and focus the most in recent years is the creation of calligraphy works in the form of new and diverse collections. Although the field of graphics and typography is also one of my occasional hobbies, I feel that I really love the creativity and freedom I have in producing calligraphy works and I will continue on this path.
