My fascination with light started early in my life. When I was about five years old, I was sitting in a room by a window with shuttered heavy curtains, leaving only a small distance in between them, where a miracle was happening: I could see the movement of dust in the air. I was mesmerized, not just by seeing the dust, but feeling something powerful and beautiful for the first time: light.
I left the room, not knowing that for years to come light would keep stealing my attention. And from the light circles on the bazaar’s floor, reflection of colored windows in daytime and the last moments of a fiery sunset in a Persian Gulf port where I used to live, I could see light declaring its inimitable splendor over and over.
That childhood fascination has paved its way to be the central theme of my work as an abstract photographer. But unlike the usual process in photography where light is the modest messenger of a story, in my work light itself becomes the storyteller and objects become the messengers letting light expand its playful presence on them. Light is truly the “subject” of my works. It comes from my urge to share the way I see and experience the world around me, a world full of light moving, turning, twisting and dancing on different surfaces and spaces with everything else in view as a background.
The process I use in taking photographs wasn’t developed overnight. My earlier efforts to capture light through photography were total failures. Although I was trying to record light, the results were pictures of still objects such as chair, table or curtain; I needed the objects to capture the reflections, to use them as the medium. But somehow those “preset subjects” could easily become the center of attention of my pictures, and light would become merely a tool to depict them.