TYPOGRAPHY
My work moves between typography and Persian calligraphy without separating them. I see both as systems of structure, rhythm, and cultural memory. In my typographic work, I build bold, intentional forms focused on clarity. With calligraphy, I draw from Persian tradition but, not to repeat it. I use it as material, reshaping it into something more contemporary. Across both, I’m looking for a shared visual language, minimal, precise, and grounded in culture, a space where design and the history of script meet and continue evolving.
جهان بدون فرهنگ
World Without Culture
An interactive typographic installation exploring perception, language, and the conditions through which culture is formed.
The work is constructed from wooden panels that initially appear as fragmented words in multiple languages when viewed from the front. Only by positioning yourself at specific angles—left or right—does the full sentence “World Without Culture” reveal itself across the surfaces. This shift from scattered forms to coherent meaning reflects the central question of the project: can we imagine a world without culture, and what does it take for culture to become visible?
The reverse side incorporates mirrors and intentional gaps, creating composite reflections of the viewer and the strangers beside them. These layered, distorted images form a temporary “whole,” reinforcing the idea that culture is not fixed or singular but emerges through perspective, proximity, and shared presence.
این نیز بگذرد
This too shall pass
A Persian typographic piece inspired by traditional calligraphy and crafted through laser‑cut wood, placed against a backdrop of classical Persian motifs.
The work reinterprets the phrase “this too shall pass” through a contemporary material approach while remaining rooted in the fluidity and rhythm of Persian script. The wooden form stands in relief against a patterned paper background, creating a dialogue between structure and ornament, permanence and impermanence. By combining carved typography with historical motifs, the piece reflects on resilience, transition, and the enduring presence of cultural memory.
ما زنده به انیم که ارام نگیریم
‘we are alive because we do not rest, we are waves, for whom stillness is non existence’
A Persian calligraphic piece inspired by the geometric qualities of Kufic script, featuring a verse by Saib Tabrizi: “we are alive because we do not rest; we are waves, for whom stillness is not existence.
