The vacuum I felt during my studies with regard to Iran's heritage in sculpture was gradually filled from other sources. With the advent of Islam sculpting had ended, but the concept of sculpture endured and infiltrated other three-dimensional objects. These soon became my models and my source of inspiration. If only I could breathe into them the spirit of our time, on the one hand, and, on the other, dispatch my Western sculpture training to oblivion, I would be on the right track. That is how I began building my sculptures, on such objects and the legacy of my heritage.
The multiple layers of the complexity of our time, if impossible to express in words, are the predominant challenge in sculpting. If made right, a single form could equal a thousand words, and a good sculpture could enhance an understanding of enigmas and convert unknowns into knowns.