Behrouz Zindashti, born in 1978 in Tehran, is a calligrapher, painter, ceramist, and university lecturer. He is a member of the Institute for the Development of Contemporary Visual Arts and the Association of Pottery Artists.
Zindashti has exhibited his work in numerous local and international group and solo exhibitions since 1983 and has participated with his classical calligraphy and paintings in London, Vienna, modern and contemporary Middle Eastern art in Paris, and ... In addition, a number of his works are housed in the Malaysian Museum of Islamic Arts.

Zindashti states his purpose for forming this collection as follows:

"My goal is to show the values ​​and beauty and visual and conceptual capacities of the visual and written culture of our esteemed past Iranian art. I have used numbers and figures in this collection of works in abundance. These numbers are directly related to the universe because Aristotle considers numbers as the source and essence of everything and the manifestation of harmony in the universe. The visual treasure and heritage of Iranian art are my source of inspiration. I add my perceptions and visual abilities through visual study and direct and indirect reference. The technique of this work is the direct use of calligraphy pen and ink and acrylic on canvas. I take the calligraphy pen directly and start writing on the canvas in different colors. This method has a long history in our art. "The number of works in this collection is 15, presented in two collections entitled" Arch and Body. "

Kianoosh Motaghedi wrote under the pretext of the exhibition "From the Signs of the World":

"The works presented in this exhibition follow two main forms, the "arches" and the "tunics" (kaftan), which find meaning between the recycling of the old Iranian visual traditions and an adapted approach to the achievements of the Saqakhaneh movement. But the artist's attempt here to achieve a new and personal language has forced him to try, in a new experience with symbolic allusions, the possibility of giving meaning to what is recorded in the viewer's historical memory from a new perspective.
In the present collection, the form of the canvases is itself a clear sign of a new search to transform the two-dimensional nature of the painting into a three-dimensional volume, and the artist's concern is more than writing a legible text or a repetitive and familiar combination. In terms of style, the signs and elements in the works connect the aesthetics of architecture, costume design, and Iranian calligraphy, but what is important is Zindashti's new approach to the process of painting with script, not calligraphy;  Because he continues to write with a reed pen, but the result of his work is merely painting, and this is where the free and free payment method and expressive filling of his pen embraces the geometric order in letters and words, and the painter oscillates between being and non-being."