Hamed Sadr-Arahami, a 34-year-old painter from Isfahan, was the youngest Iranian artist at the 18th Christie’s Dubai auction. His work was sold for $38,000, three times its estimated price.

His painting, titled “Why Not,” from the “Iranbano” series, is a triptych measuring approximately 4 by 2 meters. The painting features 11 female figures. Drawing inspiration from the word “Iran,” a feminine noun, the young artist references his homeland and the concept of identity. Born in 1960 in Isfahan, Sadr-Arahami began painting as a child. His last exhibition was held a year ago at the Vali Gallery in Tehran. We had a conversation with him, which you can read below.

Tell us about your first participation in the Christie’s auction, which was very successful. Personally, I always thought that only a few specific names could participate in Christie’s, and provincial artists had a lower chance of being on this list. But considering that my work has been well-received in both the Tehran auction and Christie’s, this can give young artists hope that they can have the chance to participate in important art events. In this auction, I considered myself a representative of all young artists and also a representative of provincial artists.

How will this presence affect your work process? I need to be more precise about my art and, of course, be more rigorous in organizing exhibitions. I think from now on everyone is waiting to see what Hamed Sadr-Arahami does, and this makes the job difficult. Shortly after my success at Christie’s, a gallery in Dubai offered me to participate in their auction and hold a solo exhibition, although I am committed to my own gallery and did not accept this offer, but I realize that being present in such an event leads to visibility and all of these together have been a valuable experience for me.

Tell us about the buyer of your work. I don’t know who bought my work.

In your opinion, what made this work sell for three times the initial price? This work is visually appealing to all audiences, and even if someone doesn’t understand its meaning, the form of the work will be attractive to them.

It seems from your works that you always have a socio-critical approach. Do you agree with this? I’m basically a critical person. I really don’t want someone to just be applauded when they spend time viewing a work of art. I want a work of art to add a conceptual meaning to the world. I want my painting to act like a trumpet. I am an artist whose mental and intellectual framework was formed during the Iran-Iraq war, and this war has taken root in all aspects of my existence, and this is so deep and great for me that in my works I somehow express its dimensions.

Explain the process of creating your paintings. For years, I’ve had a notebook with me, and I write down my feelings and good moments, which sometimes turn into poetry or long texts. Then, at some point, I enter my studio from the hustle and bustle of daily life, review these writings, and choose parts from these writings and put images in place of the words. In fact, I design these elements on paper and add the space I have in mind to it, and then wherever necessary, I bring a live model and take pictures of the live model in the poses I want. Sometimes photographing a model can take months. For example, it took me four months to photograph the “Iranbano” collection, and then based on the photos and my power in anatomy, wherever necessary, I make changes in my workspace, and then I start working on the canvas.

As you said, you are a provincial artist who, unlike many artists, lives outside the capital. Now that you have been successful at Christie’s, do you still prefer to stay in Isfahan? I love Isfahan for living and even working. Isfahan is a huge artistic source in terms of feeling, and I intend to stay in Isfahan. But I have focused on presenting my work in Tehran, because the art economy in Isfahan is not yet booming.