Part of me has always resisted the Western clichéd image of Muslim women, depicting them as nothing more than silent victims. My art, without denying 'repression,' is a testimony to unspoken female power and the continuing protest in Islamic culture.

There's something when you're always immersed in the natural landscape where it becomes your healer, in a way, at the same time that it also becomes sort of frightening. I guess that's how I see things, in that form of duality.

To me, editing is not something you can do in a rush because the artists themselves are not always their own best editors. Time is absolutely everything.

Magical realism allows an artist like myself to inject layers of meaning without being obvious. In American culture, where there is freedom of expression, this approach may seem forced, unnecessary and misunderstood. But this system of communication has become very Iranian.

In this Western world that we have, culture risks being [only] a form of entertainment.

Beautiful woman wrapped in chadors, with huge machine guns in their hands. Brilliant, shocking, amazingly contradictory images. They compelled me to deeply investigate these ideas.

My mother is my last point of security in relation to my past, and if that breaks, I will not ever have that type of pure love or pure attachment.

Art is no crime. It's every artist's responsibility to make art that is meaningful

Those of us living in the state of in between have certain advantages and disadvantages. The advantage of being exposed to a new culture and in my case the freedom that comes with living in the USA. The disadvantages of course being that you will never experience again being a center or quite home anywhere.

Being political is an integral part of being Iranian. Our lives are defined by politics.

Nature has the most powerfully healing effect.