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Sepideh Zarrat & The Saffron Crocus (in progress)

چمنی که تا قیامت گل او به بار بادا
ز بگاه میر خوبان به شکار می‌خرامد
به دو چشم من ز چشمش چه پیام‌هاست هر دم
در زاهدی شکستم به دعا نمود نفرین
نه قرار ماند و نی دل به دعای او ز یاری
تن ما به ماه ماند که ز عشق می‌گدازد
به گداز ماه منگر به گسستگی زهره
چه عروسیست در جان که جهان ز عکس رویش
به عذار جسم منگر که بپوسد و بریزد
تن تیره همچو زاغی و جهان تن زمستان
که قوام این دو ناخوش به چهار عنصر آمد
صنمی که بر جمالش دو جهان نثار بادا
که به تیر غمزه او دل ما شکار بادا
که دو چشم از پیامش خوش و پرخمار بادا
که برو که روزگارت همه بی‌قرار بادا
که به خون ماست تشنه که خداش یار بادا
دل ما چو چنگ زهره که گسسته تار بادا
تو حلاوت غمش بین که یکش هزار بادا
چو دو دست نوعروسان تر و پرنگار بادا
به عذار جان نگر که خوش و خوش عذار بادا
که به رغم این دو ناخوش ابدا بهار بادا
که قوام بندگانت به جز این چهار بادا

On the last day of February, I visited an art gallery in Qatar. The theme was all things Iran— culture, history, tradition. As an Iranian myself, I naturally gravitated towards most of the art there— from the floral, woven rugs to the whirling, fantastical portraits. But one artist there stood out completely from the rest.

Yet amidst all of this, one artist stood apart.

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In the final exhibit of the gallery, Sepideh Zarrat sat painting, back against the entrance. To her right, her past works burst against the pale white wall—– vivid, untamed, each telling a story both deeply personal and undeniably universal.

I stood, stunned. I took pictures. I asked for her contact.

I could try to capture her art in my own words, but no description could truly hold its essence. Instead, here is an interview I conducted with her— an attempt into understanding the three collections she shared that day.

Your work has a very organic, almost untamed quality. Do you start with a structured vision, or do the forms emerge spontaneously as you create?

Sepideh Zarrat:

Many of your pieces have an ethereal, almost surreal quality. Are there specific influences—artistic, philosophical, or literary—that shape your aesthetic?

Sepideh Zarrat:

Your use of line and movement is incredibly dynamic. How do you balance fluidity and precision in your technique?

Sepideh Zarrat:

How does your cultural background influence your art? Do Persian poetry and symbolism often inspire your work?

Sepideh Zarrat:

What message or experience do you hope viewers take away from your paintings?

Sepideh Zarrat:

The colors and depth in your work are stunning. What mediums other than paint have you used?

Sepideh Zarrat:

Zar-Paran, Gold-Threads

What inspired you to depict the saffron crocus in such an intricate and abstract way?

Sepideh Zarrat:

In one of your interviews, you mentioned that the fact that saffron farmers sing to the saffron plant before it blooms impacted your collection. How so?

Sepideh Zarrat:

Saffron has deep cultural and historical significance in many places—does your painting connect to any personal or symbolic meaning?

Sepideh Zarrat:

The delicate balance between chaos and structure in your work is fascinating. How do you decide how much control to impose on the lines?

Sepideh Zarrat:

Based on the works of Mowlana

How did this particular Mowlana poem influence your artistic choices?

Sepideh Zarrat:

Your use of color and flowing, tangled forms evokes both motion and emotion. How do you translate poetry into visual language?

Sepideh Zarrat:

Jabr-e-Jaari, Flowing Constraint

The swirling dark lines forming the faces create an almost dreamlike or fragmented identity. Is there a particular story behind this piece?

Sepideh Zarrat:

The contrast between the bold yellow background and the dark forms is striking. What role does color play in shaping the mood of your work?

Sepideh Zarrat: