I was born in Iran. At the early stages of my life, I became familiar with eastern art concepts and Iranian-Islamic Arts, And it was due to my family's background in arts and crafts.
I started to learn Moalla and Nastaliq with my father; It was a stepping stone readying myself to be in the court of big masters of calligraphy like Master Hamid Ajami (the Inventor of the Moalla calligraphy), Master Ebrahimi, and Master Pakdaman.
I used the traditional lessons from calligraphy and used them to enrich other artistic mediums like Calligram, Sculpture, animation, and performance; Among these mediums, I found The calligram reconcilable with my art language. There is a difference between the definition of calligram used in western sources from what I use in my work. Western Calligram uses Font or calligraphy to create a form, while Persian calligram deals with deeper meanings behind the compositions. Subjects and concepts that are rooted in the historical context and traditions of Iran. Persian calligram deals with the aesthetics of calligraphy (the essence and maturity of curves). It deals with the defamiliarization and questions about the mission of calligraphy and calligrapher.
In Iran, there is no interdisciplinary academic course, so I continued my studies in architecture. But my design thoughts were heavily influenced by my art and eastern philosophies. My artistic experiences and my architectural findings during my final bachelor thesis led me to become interested in Autonomous Design for my master's at KASK.