Ceramic in An Oriental Devotion collection is accompanied by iron and bronze. Although the metallic layers of ceramic surfaces are very thin, they look more evident and noticeable than those of metal objects. Hence they demonstrate that in art of the past and Iran`s art in particular, how the material used is refined and how it becomes detached from its physical characteristics. This collection aims at providing evidence to show how we can create a new modern-day identity from the old past one by removing mere formalistic features (motifs, writings, etc.) and realizing the more important hidden elements of ancient art.

 I`ve taken two forms of the word «mihrab» into consideration while making these works: first, mihrab from Arabic, meaning «the field of harb» («battlefield») with Satan or evil-prompting self (devilish ego); second, mihrab from Persian, derived from «mehrābe», the equivalent for Mithraism (The worship of Mithra, the Iranian god of the sun, justice, contract, and war in pre-Zoroastrian Iran). I`m not looking for the root of the word «mihrab» in Arabic. I don`t believe that mihrab is a place or field to fight with somebody or something. Mihrab (in its both forms mentioned above) for me is a place for seclusion and worship. We don`t become fighters or warlike beings in mihrab, but we become lovers!