Living, Leaving, and Always Leaving is an immersive installation that turns the emotional reality of migration into a shared spatial experience. Combining performance, hand-made artifacts, moving image, and sound, the work guides participants through stages of departure, displacement, and adaptation. At its centre are crafted passports and boarding passes—objects that act as carriers of identity, memory, and loss. Grounded in research and interviews around the emotional role of airports, the project bridges intimate migrant narratives with public perception, inviting empathy through poetic, participatory storytelling.
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Still Life, In Motion explores the relationship between the image-maker, everyday objects, and the environments that shape them. I begin with ordinary domestic remnants—partially used items that carry traces of routine, consumption, and time. From there, the work expands into an installation process: I construct the scene as a small stage, introduce projection as a moving layer, and then re-photograph the resulting space.
By overlaying landscapes onto physical objects and surfaces, the project breaks the traditional stillness of still life and creates an ambiguity between what is present and what is missing, what is lived and what is remembered. The images become hybrid spaces—part interior, part elsewhere—where domestic familiarity turns into a subtle narrative of departure and return. In this work, photography is not only documentation; it’s the final frame of a performative process, shaped through light, spatial composition, and the emotional weight of everyday traces.
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Self-Portrait begins with a simple disruption: what happens when the photographer refuses the usual position—behind the camera, or close to it—and instead lets distance do the describing? Made along highways between Iranian cities, the series is built through a recurring performative ritual. I leave the city, walk away from the road, enter the landscape, and return to the frame—again and again—until the act of making becomes a form of meditation.
By pushing my figure toward the horizon line, the work de-centres the individual and expands the portrait into an encounter between body and environment. Familiar landmarks dissolve; the landscape stops acting as background and becomes an active collaborator. The images hold an ambiguity between presence and disappearance, intimacy and remoteness—asking whether “self” is an identity to display, or a condition that emerges through relation: to land, to distance, to the air we share. In this series, self-portraiture becomes less about the face and more about belonging.
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OOh My Box! is an interactive packaging artwork that merges physical design with augmented reality to create a multi-sensory unboxing ritual. I approached the box as a narrative device: a hand-held artifact that triggers moving images, sound, and micro-interactions through an AR layer. In close collaboration with Studio DEEEZ, I shaped the project’s visual language and storytelling—developing a cohesive illustration system and directing the experience across the AR-activated interface. Built through a hybrid process (hand-rendered illustration in Photoshop/Procreate, supported by selected AI-generated imagery and video sequences via Midjourney), the work uses playful detail and intuitive cues to guide users through an unfolding story.
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As Art Director for Ode Sur L’élégie Ou Presque Azure (Dir. Soroush Marouf, Paris), I helped shape a visual world that lives in the tension between documentary realism and poetic invention. My role wasn’t only to make elements, but to build atmosphere and meaning—proposing unconventional approaches that expanded the director’s vision and sharpened the film’s emotional register. Working closely with the team, I developed the visual language across sets, textures, graphic elements, frame-by-frame animation, the film poster, and credits, ensuring a consistent tone from pre-production through post. The result is a layered, intimate film space where each frame carries narrative weight.
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