Have you ever looked at a mass of clouds and found human faces, animal figures and so on, looking back at you? This is one of the tricks our imagination plays on us and makes us find a familiar story while looking at something. Often, when we look at a bunch of trees, our mind associates them with strange figures or awesome animals.

We look at the scaffolding of a building and we find there the sail of a boat, a turquoise waterfall, or the length of a woman’s dress. We look at abstract art and try to find familiar lines and design. 

Have you ever looked at an object as a living thing?
 
In my belief system, the cover of a scaffold over the building is alive and I paint its portrait. These covers have impermanent, temporary and short-lived lives; they are screens covering buildings which are coming into being, are taking shape. They are transient but spectacular. 

They have poetic rhythmic forms that hand in hand with the music of wind and breeze support each other. The accumulation of scaffoldings, the folds and wrinkles of covers and their light and shade have beautiful rhythms.
Because of having a completely industrial and geometrical skeleton and framework, these covers should have logically turned into dry and lifeless volumes; but no, these covers have colourful flexibility, a dynamic, delicate and dramatic nature. The play of light and shade, the magic of color on these covers, which symbolize impermanence for me, are a message and a hint at the pulse of life with its ambiguous horizon which raises the melancholic beauty to the apex of highest visual point. 

I cannot overlook the beauty and extraordinary breathing of a cover on its steel skeleton; I want to share the excitement of watching the unfolding of this beautiful scene with others.  

I remember a cover full of wind blowing in it, as if while exhaling the breath its skin embraced the skeleton which looked like a rib cage, while the setting sun’s oblique light had displayed the beautiful and spectacular play of mixing of turquoise, blue and orange-red water at the end of the day.  

By wandering in the city and paying attention to scenes which sometimes are less important or entirely unimportant to others, and roaming in familiar and intimate neighbourhoods to discover motifs for my paintings, I look for aspects of urban views which are often aesthetically disregarded and their details are rarely recognized. 

On the other hand, by borrowing from the ecstasy of color and form, I attempt to answer the question: how I can portray transience, instability, etc, in my paintings. 

I thought that by referring to temporary covers of buildings I may be able to create a metaphor in this respect. These paintings are tantamount to an invitation to pay attention to impermanent stages and moments, attention to the signs of passage of time, since the most unchangeable rule of life is the selfsame change. The meaning of life is hidden in this idea. 

Thus painting transforms into a complicated relationship between facts and emotions stimulated by scenes and realism.