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Research Interest

I am interested in the ways texture, timbre, and gesture influence both the micro and macro-level structures of my compositions. My approach draws on the work of Norwegian composer Lasse Thoresen, whose analytical techniques have shaped my creative vision and approach to composition.
I have recently shifted my creative practice towards more collaborative and multidisciplinary projects, inspired by the endless possibilities afforded by technology. This approach has significantly elevated my creative output. I investigate the ways a single concept can assume different shapes and representations across various mediums (visual, auditory, and physical) presented in both virtual and live performance formats.  
In my work Sepideh (2023) for piano, audio playback, and video, for example, I included visual, audio, and movement components, united by the use of colorful ribbons. The colorful ribbons were a dominant visual element. I experimented with various ways of producing sound effects inside the piano using ribbons, later processing and developing them for audio playback. Furthermore, during the live performance the pianist used ribbons to produce various live sound effects. Additionally, I provided small tokens made from the same materials to the audience as mementos, allowing them to take a piece of this multisensory experience home.
In Sabzeh, hand-made carpets and sprouts (sabzeh) are integral to the visual, audio, installation, and dance components of the work. In collaboration with a fiber artist, we created a labyrinth using threads similar to those used to make hand-made carpets, representing the form of sabzeh. The recorded sound effects of making carpets and sprouts were an integral part of the soundscape. Musicians were asked to interact with these sounds during the recording session, to generate more raw sound effects, which were then incorporated into the soundscape. In addition to these sounds, the soundscape included narration and an Iranian Lullaby. These elements both enhanced the aesthetic experience of the piece, and underscored the social and cultural messages of the composition.
I am committed to addressing social issues in my creative practice. Many concepts and elements in my compositions are inspired by social or political challenges, often reflecting the struggles faced by minorities, particularly women. For example, my multimedia work Sepideh (mentioned above), was inspired by the Woman, Life, Freedom Movement in Iran, and incorporated ribbons as a symbol of identity, resilience, and unity. This reflected their use in women's traditional costumes across various cultures.
I believe there is a strong connection between my creative practice and my desire to create works that advocate for positive social change. Working at this intersection is crucial to my artistic pursuits, and aligns with my belief that music can serve as a pathway to broader social progress and connection.