About Me

Influenced by the history of art in Iran, I am fascinated about Persian Miniature and I use them in my paintings.

Persian miniature which are richly detailed and depict religious or mythological themes. The art of miniature painting in Persia flourished from the 13th through till today. These delicate, lush paintings are typically visually stunning, with a level of details which can only be achieved with a fine hand and an extremely small brush. I have tried to develop my paintings by using Persian art which has its own distinct features, and develop it to todays contemporary art.

I have also emphasised on natural and realist motifs together with the Persian technique of "layering" perspectives to create a sense of space ad depth. This gives the viewer a sense of three-dimensional space and the ability to focus on certain aspects of the piece to the exclusion of others. My chosen symbol is the Pomegranate which is also a sign of fertility in old Persian Culture. I add the Persian miniature feathers on them and by using layers have I tried to achieve the antique aged feeling to my viewers.

shadi mahsa


Chaos in Nature, Zari Gallery (Solo Show)
2022 London
Zari Gallery (Solo Show)
2019 London
"Figures", Galerie Eclectic Studio
2019 Paris
"Intersect", Sweet Art
2019 London
2018 London
P21 Gallery, Thread of Light (Group show)
2017 London
Gallery Rondo, Connect (Group show)
2017 Poland, Katowice
Seasons, Maxilla Space
2017 London
Ply Gallery, Connect Project
2016 London
Sweet Art, SHE
2016 London
Group show
2016 Puntcum
Etemad Gallery, Blue Gold (Group show)
2016 Tehran
Housed - Cook House, Chelsea (Group show)
2015 London
La Galleria, London (Group show)
2014 London
Hortensia Gallery (Group show)
2013 London
Opera Gallery (Group show)
2013 London
Hortensia Gallery (Group show)
2012 London
Janet Rady Fine Art, Opera House
2012 London
Seyhoun Gallery, Solo Exhibition
2011 Tehran
Seyhoun Gallery Mona Lisa and I (Group show)
2011 Tehran
Aaran Art Gallery, Solo Exhibition
2009 Tehran
Mamak Gallery (Group show)
2009 Tehran
Ameri Fine Art Gallery, Solo Exhibition
2001 London
Chiefley Plaza Center (Group show)
1997 Sydney
Fresh Water Gallery (Group show)
1992 Sydney


MA Fine Art - Distinction
Chelsea University of Art, London.
HNC Fine Art
Kensington Chelsea College of London.

Floral and Nature

I am fascinated and inspired by nature; as in trees, flowers and the emotions we receive by observing them.The life around us, the seasonal change can relate to the cycle of life, in the universe. My work essentially captures my own emotions and reflects what I see in the world that surrounds me, and I want to convey this to the viewer in various forms. What gives me a sense of fulfilment is when my viewer shares these emotions and can appreciate what is communicated through my paintings.

The tree has been a subject of paintings since ancient times. They may symbolise the tree of life, growth, family tree or nature. Symbolically, trees unite the heavens and earth. They are tied to the earth, and even underground in its root system. Branches reach up into the sky, uniting above and below.

Trees are literally life givers, and provide the oxygen we could not live without. They clean the air and help to combat the greenhouse effect. They provide shelter and sustenance to people, wildlife, birds, insects, and much more. The flower grows on them and fruits are their major product. They invite us to realise how our lives may experience changes, from spring, starting a life to winter when we are witnessing the fall of leaves, that can be the end of our cycle or start a new life again. The joy of looking at their new life, gives us hope to appreciate existence and not to give up in our day to day life problems.

autumn fall


Owning our own face.

The face: it’s personal, yet universal. It’s how we recognise each other and communicate our emotions—and yet there’s more to it than immediately meets the eye.

“Clearly, we recognise people by many traits, for example their height or their gait but our findings argue that the face is the predominant way we recognise people,”

It does not explain why facial shape differs in the way it does. Looking at skin or hair colour, you would not be able to tell most people apart: there are millions of people with the exact same shade of skin or hair colour. There is no individual skin or hair colour. But there is an individual facial shape. It is very rare that you find two people (who are not twins) whose faces look so identical that you would confuse them. Facial shape distinguished human beings from one another in a way that hair or skin colour does not.

Beauty presents a standard of comparison, and it can cause resentment and dissatisfaction when not achieved. People who do not fit the "beauty ideal" may be ostracised within their communities.

However, a person may also be targeted for harassment because of their beauty. We are judged based on our faces and appearances.

In the society that women are in lots of pressure of ideal beauty on social media, we go under plastic surgery to look beautiful and attractive for others in the current specifications and accepted by society and less to ourselves. I believe, every woman has their own beauty, we all have some figures which has its unique beauty. Our differences is our beauty. While I was painting portraits of unknown women, I have discovered, each portraits has similarity but yet different to one another. Where these portraits comes from, it may come from my vivid memory of women I looked once in the magazine or met in my life. I can see their personalities, which each are different.

woman with a thousand faces

Chaos in Nature (Abstract)

One thing I came to learn is that chaos theory affirms that under certain conditions; ordered, regular patterns can be seen to arise out of random, erratic and turbulent processes. Chaos theory helps us to understand Nature's beautiful havoc.

It displays that within the apparent randomness of complex systems, there are underlying patterns, interconnection, constant feedback loops, repetition, self-similarity, fractals, and self-organisation.

There are a lot of different shapes, forms and information to look at and things don't seem to make much sense, but as you start taking a closer look at what's in front of you, you start to recognise familiar items and begin looking for an array of different arrangements.

In my paintings, I have tried to award the viewer the ability to explore what their curious mind finds interesting, whether it be a repeat of designs, colours, harmony and disorder.

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