Research Interest
My creative research investigates how interdisciplinary artistic experiences shape the way people perceive stories, relationships, themselves, and one another. Working across music, movement, image, material, and technology, I explore how relationships between artistic elements emerge through the creative process and how they contribute to coherent artistic form, expressive meaning, and audience experience.
Rather than beginning with a particular medium, I allow each project to find the artistic form it requires. My work integrates acoustic and electroacoustic sound with movement, visual elements, material, and craft so that every element develops together within a unified expressive framework. Technology functions not as an independent layer but as one element within a larger artistic process in which sound, image, movement, and material continually inform one another.
For each project, I search for the material that carries the emotional, cultural, or symbolic relationships at the heart of the story. Rather than using these materials as symbols or visual motifs alone, I allow them to shape the work across sound, movement, image, technology, and material, creating relationships that unify the artistic experience.
Sabzeh (2025) exemplifies this approach. Inspired by Omid Fallahazad's short story of the same name, the installation takes two parallel processes—hand weaving and the growth of sprouts—as both conceptual and structural foundations. These actions shaped every layer of the work, including the soundscape, video, choreography, and fibre art. A large wooden loom-like structure became the physical centre of the installation, while projected dance movements animated the woven threads. The surround soundscape combined recordings of weaving and sprouting with instrumental sounds and vocal improvisation based on an Iranian folk song. Live-growing sabzeh completed the relationship between natural and human-made creation. The work honours the ten Bahá'í women executed in Shiraz, Iran, reflecting on resilience, unity, and renewal through a shared creative process.
In Sepideh (2024) for piano, audio playback, and video, ribbons became the central material connecting sound, image, and movement. Traditionally woven into women's clothing in Iran, ribbons carry associations of identity, resilience, memory, and cultural continuity. In the context of the Woman, Life, Freedom movement, they also became the closest material reference to women's hair—the symbol at the heart of the movement. Throughout the work, the ribbons generate sound inside the piano, form the basis of the processed audio layer, and appear as central visual motifs, allowing a single material to organize the work across multiple artistic media. Inspired by the Woman, Life, Freedom movement, the piece reflects on collective strength, resistance, and hope through the integration of material, sound, and movement.
Silent (2022), a multimedia composition for clarinet, cello, piano, narration, audio playback, dance, and visuals, similarly began with a single conceptual source: Forough Farrokhzad's poem The Wind-Up Doll. Rather than illustrating the poem, I allowed its rhythm, imagery, and emotional landscape to shape the musical language, choreography, soundscape, and visual design. The work explores silence, oppression, and the possibility of change through relationships that unfold across multiple artistic forms.
My ongoing research continues to investigate how interdisciplinary artistic experiences shape the way people perceive stories, relationships, themselves, and one another. Through creative practice, I explore how relationships between sound, movement, image, material, technology, and narrative can give rise to artistically cohesive, culturally grounded, and socially engaged works.