b i o - d a t a

reincarnated impression of blowback

is a three-channel video and sound installation based on a found footage video that was streamed online from a location — (37.084833, 44.153222) — in the middle east, which shortly after, doomed black and was deleted from the streaming platform. In this found footage, the streamer takes us, as the spectators, on a short journey on top of a hill and shows us a dystopian desertified landscape.
On one level, the first person intermedia figure of the video caused so many fragmented and twisted elements into the footage, on the other, the hybrid agent quality (a body–a sensor) of the footage associates the anxiety, fiction, and untold story of the location.
This project, by processing and reconstructing the hidden elements of the footage, attempts to create an immersive, liberating scene in which narrative, myth, and technology are in constant debate, trying to represent the twisted structures of the region.


focuses on the relationship between two images that have no immediate visual connection. After a few moments, connections are made through contradictions and similarities. The channels are different colors and sizes, but both share the existence of the human body as a symbol of resistance. On one channel projected on the wall, you see a video-montage of 4000 frames of photographs taken in an hour. In each frame, an old man sitting in his wheelchair is surrounded by dancing bodies. The other channel, shown on a Sony PVM television, is a black and white video of a blind man trying to get the attention of passerby around him by tapping his cane. The rhythm of the tapping occasionally syncs up with the frame rate of the other channel. Discovering the underlying behaviors in a given society, investigating how these mechanisms link members of society and portraying this relationship is one of my key artistic concerns.

underground operation

A few years ago in Tehran, Vali-e Asr Intersection pedestrian underpass became operational. Construction of an underpass, underneath Vali-e Asr Intersection, where the most important streets in Tehran meet the city installed iron fencing,  a means of saying ‘Keep off!’. This forced people underground to keep them off the streets as part of the Urban Despotism project at the pretext of traffic control. In this project I placed a  fixed-frame camera to record snapshots which included the fences, guide signs, charity boxes, flags, cultural and iconic buildings, and me, the artist, standing still like the rest of the elements.

an endless wandering

this project is about a real but unnamed place: a town where some people, due to poverty and circumstance, elected to occupy a piece of land.


moving back to inside

we are well self-equipped

is a depicts two Afghan refugee children building a weapon to hunt birds. These two children alter colorful balloons and soda bottles to make an instrument that can launch rocks. However, in practice, none of the rocks reach their target.

unwanted presence

unaware documentation of a disaster

show it - throw it - destroy it

on that day