After completing my Masters degree at Simon Fraser University, I created a visual art exhibition entitled 'MIRAJ: Sketches of Paradise'.  I approached this show with the intention to strip away the complexity of 'new media' and get back to the basics of my first love: drawing. 

The centrepiece of the show was a Persian rug illustration that was etched into a 24 square foot slab of Bianca Neve white marble. The piece entitled 'The Secret Realm' featured an engraved Persian rug I designed digitally, based on the Shah Abassi style of carpets from Qom, Iran.  Engraving an ephemeral work of digital art into the cold, solid base of marble was a perfect expression of my interest of the intersection between traditional forms of art and modern digital technology. 

The exhibition was held at the Catalog Gallery in Vancouver, and was subsequently held over for 6 weeks due to demand. 

As an extension of my graduate studies in immersive media, I created a series of installation environments featuring animated Persian mandalas projected into and onto architecture through videomapping techniques. 

Videomapping is a new media technique that superimposes multimedia content such as video and animation onto physical structures or objects in the real world.  Using a software I designed myself called 'ILLUZTRATOR', I create hand-drawn mandala art and subsequently animate them using digital tools.  These animations are projected onto walls, domes, or objects in order to create a sense of total video immersion.

Variations of this project have been exhibited at the Emerging Technology and Art Gallery at SIGGRAPH Asia (Hong Kong), the New Forms Festival (Vancouver), Science and Nonduality Conference (San Rafael), and the Computational Aesthetics Conference (Vancouver).  The mandala animations were also integrated into live concert visuals for international recording artists Azam Ali and Niyaz for their global tour.  

Using a graphics tablet and computational tools I designed myself, I explored various modes of drawing including vector illustration and what I call 'computational sketching'.  My idea was to demonstrate the complexity which can arise from utterly simple drawing gestures, as well as the simplicity that may arise from seemingly complex drawing methods. 

Each of these pieces are constructred from millions of vector lines, pointing towards the elaborate chasm between chaos and order.

We are a leading edge media company that specializes in producing fully immersive audiovisual experiences in 360˚ dome theatres and planetariums. We produce immersive experiences that are not for your class field trip to the planetarium as a child. Today, we are creating astonishing animated journeys, set to mesmerizing original scores, exploring contemporary themes like mindfulness, love and mystical poetry, taking our viewers on an exploration of inner space, riding on waves of awe.

My graduate thesis project was an architectural scale immersive environment deployed at the Burning Man Festival.  The dome project was erected on the inhospitable Black Rock Desert playa, and featured 360˚ visuals, surround sound audio, and vibroacoustic foam beds.  Musicians and performers from a multitude of sacred world music traditions were invited to use the installation as a ceremonial concert space, as well as to conduct workshops on yoga, meditation and music.  

The project was realized through collaboration with Adil Kassam of Elevate Films (Los Angeles), the Red Lightning collective, and Dr. Diane Gromala, my graduate supervisor.  The installation was incredibly well received on the playa, and was the subject of my Masters dissertation entitled: Sacred Media – The Immersive Aesthetics of Technosacred Space.

My interest in sculptural arts as well as digital fabrication technology led me to explore jewelry design in 2014. Eventually I created my own jewelry label called Temple of Ruin, that combines precious metals and gems with my love of ancient Persian mythology.

Temple of Ruin is a collection of adornments and talismans, that incorporate architectural, mythological, and natural motifs. These collections express the transcendental heritage of the mystic east in a contemporary language. The design is driven by materiality and texture, and represent an attempt to recalibrate the ethereal through a physical palette.

After graduate school, I began designing a concept furniture brand which came to be called TAVERN. This project combines my obsession with the architectural motifs of ancient Iran with contemporary materiality and futurism.

With my business partner @FUTUREZONA, the first collection of furniture and lights - ‘COSM’ - was the recipient of an Industry Canada research grant to explore the most cutting edge fabrication techniques possible. Currently, we have created several museum-grade prototypes from this collection.

COSM tells the story of multiplicity through the simplicity of the Islamic star geometry, extended into an ethereal range of three dimensional forms. These pieces combine an undeniable meditative quality, with an invigorating sense of complexity.

As an extension of my explorations of vector illustration, I create layered 3D artworks using a variety of digital fabrication techniques and hand assembly. The style of these artworks play on the perceptual nuances of how the brain perceives colour and form, and then intensifies a false sense of depth through the extrusion of the layers from the surface of the artwork.  The result is a dynamic piece that is different from every viewing angle.

I release these hand assembled artworks in limited edition drops and as commissions for private collectors.  I plan to release a collection of tokenized digital sculptures as NFTs in the near future. Among my collectors are Sean 'Diddy' Combs, Stephen Marley and Damien Marley, RZA, DJ Tiesto, just to name a few.