The Middle Eastern Society fears the modernity and feels unsupported and lost in a demythologized world. I would like my paintings to be seen as a necessity for the oriental man who seeks a path through traditional being to what the era of modernity imposes on him, by carving the way through the rigid traditions, and putting light into darkness of modernity. I try in my work to imply the message to the viewers that the modern life can be as elucidated as traditional life. If the traditional life, proposes blindness in the light, and if modernity is an inevitable darkness to eyesight, my work envisions a conceptual framework in which the man lives with sight in a bright world. I try to help the bewildered oriental man, who cannot live with his past traditions through inspiring him to reproduce a new thinking paradigm. The creation of this new paradigm starts with reviewing and pruning the traditional views and synthesizing them with new concepts. My artworks are the scene of the interaction between modernity and traditional world in such a way that my works include signs of both modernity and modern system of thoughts along with traditional thinking. I am neither the product nor the effect of modernity so much so that its influence forced me to abandon my own traditions; while I am not either a bigot adherent of traditions./// I have created this setting in order to have free rein in explaining my outlook towards the world around; a setting in which I would be able to relay my ideas and reflections of the world around me without solid explicitness of realism, and with more freedom, too. I also like the act of camouflage belonging to the traditional world, the curving and intertwining lines that hide within shapes and forms. In my works, concepts are neither conspicuous between lines and colors nor hidden in such a way that the observer is unable to detect their presence. With careful reading between the lines, the viewer could grasp the shapes and intentions the painter had in mind, and through the mixture of drawings and pictures hidden within colors and curves of the lines, one can reach a deeper understanding of my psychology. My paintings are not a recording of the events happened around me but my reflection of them. I apply this approach to painting of the political and social events of the Iranian society not as a replica but my own perception and interpretation of them. I offer the audience my understanding of the events.