Paying attention to surfaces, light and shadows is a purpose in common in the visual structure of all my collections, and attempts were made to refine them and achieve more sophisticated visual thinking.. This, undoubtedly affecting simplicity of Merandi's primary visual structure in looking at his subjects and the surface-like composition of Iranian miniature was undeniably effective in my works of art. Furthermore, I was impressed by light and shadow in Rembrandt's works that seem to eternally take us from darkness to light and from light to darkness and by Hopper with his sharp cuts between light and shadow and frozen figures. I wanted to pass this impression from my mental filter and mingle it with my visual expression experiments and make it my own. In my works of art, I am not interested in the details of my compositions; I attempt to sterilize my form and color, since in this way I can get closer to the characteristics and nature of my subjects. These subjects help me visually express my works through refining elements surrounding them. The key element of this expression is a conflict heightened with high-contrast light and shadow standing out of the structure with a surface-like simplicity which faces us with a world of conflicts, hesita tions, hopes and loneliness typical of our time. All these emotions either are portrayed with fear and illusion or come to an end with euphoria and poeticism,
Hamidreza Emami