This collection explores visual arrangements of radically distorted versions of the word “Doozakh” (دوزخ), meaning Hell in Persian. It builds on my previous techniques of manipulating and deforming basic visual and geometric elements; however, in this series, the focus shifts to language and typography as the primary material.
The work responds to the social and political events unfolding in Iran at the time of its creation, using the word as a symbolic and emotional anchor. Through repetition, distortion, and entanglement, the compositions aim to produce visually disturbing and unsettling configurations that embody concepts of blood, infinity, pain, and psychological tension.
The contrast between red and white on a black background is deliberately employed to intensify these themes and reinforce the atmosphere of violence, urgency, and emotional rupture.
