“Art, to me, is a dialogue of sensations rather than statements—a space where viewers can connect through emotion rather than explanation.”

Existing at the nexus of social commentary and emotive formalism is the visual language of Bahar Talebi Najafabadi. Her body of work is imbued with an emotional, chromatic mix between abstraction and the figurative, where colour is an affective tool rather than a descriptive one. The London-based Iranian artist balances two distinct narratives, one is an intensity of dark, emotional hues, similar to Fauvism, and the other exudes a more intimate, serene atmosphere, maintaining an intimate psychological depth resembling the work of Symbolist painters. Within these two methodologies, colour is the vital connector, becoming an expressive material that reflects the artist’s theoretical exploration.

From a conceptual point of view, Najafabadi eschews the reduction of art to didacticism. Works like "Eight Meters of Silence," which address the material and metaphoric burden of mandatory hijab in Iran and Afghanistan, undoubtedly carry a social and political weight. However, the artist perceives her visual language as phenomenological, rather than pedagogical, prioritising emotional resonance over explanation. This perspective aligns Najafabadi’s practice with artists like Marlene Dumas, who similarly explore the relationship between personal memory and collective trauma. The artist's creative process has a strong sense of embodiment, engaging deeply with both her environment and her emotions, which creates an intuition or rather scepticism, toward art solely as activism; rejecting instrumentalisation in favour of ambiguity, resisting a straightforward interpretation of her practice.

This brings forth an interesting contradiction. While Najafabadi claims an utter disinterest in deliberate activism or political messaging, her most compelling work, "Eight Meters of Silence", is undoubtedly political. Conversely, paintings like "Paradise Rising" capture the serenity and warmth associated with summer, emanating the essence of bodily remembrance, a quiet elevation toward a sense of harmony and paradise. This raises the question of whether an artist's most impactful pieces emerge not only from rigorous research and conceptual focus but also from the intersection of personal experience and collective oppression, regardless of intention or form.

Can you start by giving us an overview of your artistic career and background? Could you share a particular story or moment from your journey that significantly influenced your path as an artist?

I began taking art classes at the age of seven, and I progressed rapidly, beginning oil painting within two years. My early immersion in art was nurtured by a deeply rooted artistic tradition in my family, where creativity runs through generations: my mother, father, and oldest aunt are all artists, although they have other professions. This familial environment provided daily exposure to a wide range of techniques, perspectives, and disciplines, shaping my eye and approach from a young age.

One moment that profoundly influenced my path as an artist occurred when I was twelve years old. I was working on a coastal landscape scene, focusing on the ocean and shoreline. My tutor asked me to pause so she could explain a specific portion of the composition. By the time she returned, I had already completed that part of the beach on my own. The independence and confidence I demonstrated in that moment reinforced my belief in my own capability and sparked a deeper commitment to honing my craft. That painting was later kept by the art school for years as an example of exemplary work, a lasting testament to a pivotal breakthrough in my development.

This trajectory continues to inform my practice today. It has inspired me to pursue meticulous craft, thoughtful composition, and a willingness to push beyond conventional boundaries in my work.

Your artistic language is strongly focused on exploration, reflecting the transmission of human feeling. Can you tell us about what led you to want to explore this specific theme and artistic methodology?

Throughout my artistic development, I have always believed that the core of artistic expression lies in evoking emotion. The message an artist seeks to convey may not always be immediately clear or explicitly defined, but the feelings a work provokes in its audience are universal and undeniable. Art, to me, is a dialogue of sensations rather than statements—a space where viewers can connect through emotion rather than explanation.

My interest in exploring the transmission of human feeling emerged from countless encounters with people who appreciated diverse artistic genres—some drawn to realism, others to cubism or abstraction. Despite their varied preferences, one truth remained consistent: no one could fully articulate what a piece of art “meant,” yet everyone could describe what it made them feel. That realization shaped my artistic methodology profoundly. I became fascinated with how visual elements, especially the combination of colors, can generate emotional responses and subtly guide the viewer’s experience. This exploration continues to be at the heart of my creative process. I aim to construct visual spaces that do not merely depict, but resonate—where meaning is felt before it is understood.

Given your area of intervention, how do you typically approach a project?

When approaching a new project, I begin with a period of conceptual exploration. I usually have many ideas about what I want to create, which I organize through notes and sketches that capture my initial vision. Alongside these sketches, I often record potential color combinations to establish the emotional tone and direction of the piece.

Once the concept feels ready, I transfer my design onto a pre-stretched canvas. I typically begin with an underpainting, which serves as the structural and tonal foundation for the work. From there, I paint the background and gradually build up layers of color and detail, refining form, depth, and texture with each stage. This layered approach allows the piece to evolve organically until I reach a point of harmony—when both the composition and the feeling it conveys feel complete.

One area of your artistic research is connected with the interpretation of art and the factors that influence this process. Can you share a bit about that research and some key elements of its findings?

One area of my artistic research focuses on how individuals interpret art and the various factors that shape this process. Elements such as personality type, artistic background, and overall mental state play significant roles in determining how a viewer perceives and connects with a piece of artwork. For individuals with higher artistic creativity, the experience often involves a deeper level of engagement—they tend to explore a work more thoroughly, reflect on its meaning, and even research its context. Others, however, may prefer a more immediate connection, responding to works that communicate a clear and visible message.

An interesting aspect of this research highlights the ongoing tension between realism and abstraction in contemporary art. Some argue that realism is becoming obsolete in an age where high-resolution photography is widely accessible. Yet, many still value and emotionally connect with realistic art, appreciating its craftsmanship and expressive depth.

Ultimately, my findings suggest that the interpretation of art remains a deeply personal and subjective process—one that artists can influence, but never fully control. The beauty of art lies precisely in that: its capacity to evoke unique responses shaped by each viewer’s inner world.

The painting "Eight Meters of Silence" explores the heavy fabric of traditional attire, investigating the pressures that come with imposed norms. What are the initial conceptual and visual frameworks of this work? How do you feel it encapsulates what your practice hopes to evoke?

Eight Meters of Silence is rooted in the reality of mandatory hijab for women in Iran and Afghanistan. The title refers to the approximately eight meters of fabric used to make the chador—material that, while physical, becomes symbolic of the broader constraints placed upon women. The work reflects not only the restriction of bodily freedom but also the silencing of individuality and participation in society. Visually, the painting conveys both weight and stillness, embodying a quiet yet suffocating tension. It arises from personal experience and a collective sense of pain, encapsulating my practice’s aim to evoke emotion and provoke reflection through deeply human stories.

How do you employ colour, style, and pattern in communication with viewers? What techniques do you use to choose which element to use?

I approach color, style, and pattern as intuitive tools for emotional expression rather than fixed techniques. I prefer not to confine myself to strict methods, allowing creativity to flow freely through instinct and feeling. I choose colors and patterns that resonate deeply with me and can evoke the emotions I wish to share, trusting that the audience will experience a similar response. Each combination is guided by what feels harmonious and expressive in the moment, creating a direct, emotional dialogue between the artwork and the viewer.

On a different note, your painting "Paradise Rising" gives a more peaceful presence, with floral imagery and light colours. Can you elaborate on these choices? What nuances hide behind them?

In Paradise Rising, I aimed to capture the serenity and warmth associated with summer through both color and imagery. The bird of paradise flowers, with their vivid hues, evoke memories of sunlight, warmth, and peaceful moments by the sea. The light color palette—dominated by blues and soft tones—reflects the calm of clear skies and tranquil waters. Even during colder seasons, I wanted the painting to serve as a reminder of the feeling of a summer holiday, a quiet elevation toward a sense of harmony and paradise.

Your work seems to balance social commentary with personal experience. What has been the audience's reaction to this approach so far? What emotions do you hope your work provokes?

The audience’s reaction to my work has been very positive, with many viewers expressing that they can resonate with the emotions and experiences I portray. Since all of my pieces stem from personal feelings and moments, I believe that authenticity helps create a genuine connection. There are always people who have felt or experienced something similar, and through that shared emotion, the work becomes a bridge between my story and theirs. I hope my art evokes empathy, reflection, and a sense of understanding—feelings that remind us of our common human experiences.

Art and artists play various roles in the fabric of contemporary society. How do you see artistic practices advancing sustainability and social consciousness?

I believe that while art can certainly contribute to sustainability and social awareness, it should not be seen as an obligation for every artist. The world and its artistic landscape are vast, allowing space for many forms of expression. For me, the primary role of an artist is to share emotions and personal experiences rather than to always pursue a social or environmental agenda. Art’s power lies in its authenticity—when an artist creates sincerely, their work naturally resonates and may inspire awareness in its own way, without the need for deliberate activism.

What message or call to action would you like to share with our readers?

I would encourage readers to look at art as a means of transmitting and sharing emotions. Take the time to find a piece or style that truly resonates with you, something that speaks to your own experiences or feelings. When you find that connection, stay with it—let it move you, inspire you, and remind you of the power art has to communicate without words.

Know more about the artist here.

Cover Image

The Eyes of the Field by Bahar Talebi Najafabadi.

Images courtesy of Bahar Talebi Najafabadi.