Interview with Daryoush Gharahzad | The Urban Chronicles of an Iranian Visionary
In contemporary art’s diverse and expansive landscape, Mehrshad Khalili emerges as a creative force and a philosophical enquirer, delving into the essence of our interconnected existence. Born in 1993 in Mashhad, Iran, Khalili’s artistic voyage began under the wing of Gilda Ehsan, who not only taught him the technique and how to see the world through an artist’s eyes.

Daryoush Gharahzad, born in Tehran in 1976, is an artist whose work transcends borders and cultures, capturing the essence of urban life with a unique blend of abstraction, realism, and surrealism. Gharahzad’s journey as an artist began serendipitously in the bustling art market next to the Contemporary Arts Museum in Tehran, where a chance encounter with a painter sketching a live model sparked a lifelong passion for art. This moment of curiosity propelled him into the world of visual storytelling, establishing him as a significant figure in Iran’s contemporary art scene.
Gharahzad’s early years were defined by his deep connection to the city. Wandering the streets of Tehran with an analog camera, he documented the city’s rhythm—the crowds, the cafes, and the everyday scenes that many overlook. His work at Peka, one of Iran’s largest bookstores at that time, further fueled his artistic aspirations. While working in the art and language department, he immersed himself in the world of literature and art, eventually becoming Peka’s public relations photographer. This role allowed him to capture significant moments at literary and artistic events, sharpening his eye for detail and composition.
His first foray into graphic art was a simple yet profound piece: a hand holding a book, rendered in colored pencil. This image symbolized not only his love for art but also his connection to literature—a theme that would continue to influence his work. His early paintings were direct reflections of his photographic explorations of Tehran. One of his first significant works was a painting of a chador-clad woman walking past a worn-out gray wall on Amiriyeh Street, a scene he captured with his camera and later transformed into a stark, minimalist acrylic on canvas. Like many of his works, this piece captured the quiet poetry of urban life, where the ordinary becomes extraordinary under his gaze.
- Daryoush Gharahzad
Gharahzad’s first solo exhibition at Gallery Day in 2007 was a turning point in his career. Managed by prominent collectors Mrs. Salheshour and Dr. Kazerouni, the exhibition introduced Gharahzad’s work to a broader audience and established him as a modern and influential figure in Iranian art. His success continued throughout the 2000s when he was consistently ranked among the top five best-selling artists in Iran. His work has been featured in numerous international publications on contemporary Iranian art history and has been included in prestigious auctions at Christie’s, Sotheby’s, Bonhams, and Tehran Auction.
Gharahzad’s artistic evolution can be divided into three distinct periods, each marked by a different thematic focus and technique. His first period centered around walls—literal and metaphorical—where he depicted abstract events unfolding on these surfaces. These works were explorations of memory and time, with the walls serving as silent witnesses to the stories they held. In his second period, Gharahzad expanded his scope to include urban girls and women, capturing their lives within panoramic frames that offered a broader, more inclusive view of the city. These works highlighted the strength and resilience of women in the urban landscape, often juxtaposed against the harsh realities of city life.
In his most recent period, Gharahzad has embraced a specific graffiti technique, creating vibrant, surreal compositions that blend the urban environment with elements of fantasy and joy. These works are a celebration of life in all its complexity, where the boundaries between reality and imagination blur, and where the city itself becomes a living, breathing entity. His use of graffiti not only adds a contemporary edge to his work but also pays homage to the rebellious spirit of street art—a fitting metaphor for Gharahzad’s journey as an artist who defies convention and categorization.
Today, as Gharahzad continues to explore new forms and techniques, his work remains deeply rooted in his experiences in Tehran. Now residing in the United States, where he immigrated in 2021 through the EB1 green card for extraordinary ability in the arts, Gharahzad’s art continues to evolve, reflecting his ongoing exploration of identity, place, and the human condition. His work is a testament to the enduring power of art to capture the essence of life in all its beauty, complexity, and contradiction.
ZH: 1. Your work transitioned from capturing abstract events on walls to focusing on urban life and its inhabitants. What sparked this shift, and what have you discovered through these different lenses?
The events that occur on city walls over time have created an intriguing context for my paintings, symbolizing both traditionalism and urban life, which connect us to modern existence.
ZH: 2. Urban life plays a significant role in your paintings, where the mundane becomes a canvas for exploration. What draws you to depict the everyday scenes of city life, and how do you decide which moments deserve to be immortalized on canvas?
Throughout my career, I have concentrated on three urban themes: the city’s context, its people, and its nature. By wandering the city and capturing urban photos, I gather material for my paintings. Everything is driven by emotion and originates from within.
ZH: 3. The figures in your paintings often appear in motion, as if caught between destinations. How does this theme of movement and transition relate to your own experiences of migration and displacement?
Yes, that’s accurate. Immigration has significantly influenced my figurative works. My lifestyle is rooted in migration—even my wife is of a different nationality. This subconscious influence means my works don’t have a specific address—it’s a kind of “nowhere.”
ZH: 4. The portrayal of women in your art, particularly in urban settings, carries a strong narrative. What stories are you aiming to tell through these depictions, and how do they resonate with the broader cultural discourse?
I believe women are always at the center of everything, even more so than men. In literature and art, goodness and beauty are often represented by women. The image of an angel is always female; even God is sometimes symbolized as a woman. What topic could be more important?
ZH: 5, There’s a playful yet poignant use of color in your paintings, especially when depicting groups of people. What role does color play in conveying the narratives within your work?
In depicting urban forms, I aimed to express myself directly and boldly. I used vibrant, fantasy colors and absolute black shadows, placing them uncompromisingly against paintings that, in contrast, were created with sensitivity and conservatism. This approach is a turning point, allowing for direct connection with the audience without hesitation.
ZH: 6. The graffiti technique you’ve incorporated into your more recent works brings a sense of immediacy and rebellion. What inspired you to adopt this style, and how do you see it interacting with the more traditional elements in your paintings?
I think I addressed this earlier. This technique, which resembles graffiti, is the most effective and straightforward way to express urban art themes.
ZH: 7. In your earlier works, there is a focus on walls as both a literal and metaphorical canvas. What role do these walls play in conveying the narratives of the people and places you depict?
Initially, city walls were a novel subject for me, and the audience enjoyed them as well. I worked conservatively, without external inspiration, so the walls served as a solid starting point.
ZH: 8. Your paintings often juxtapose vibrant, lively figures against muted, worn backgrounds. How do you use this contrast to explore themes of memory and history within urban environments?
Yes, the energy and dynamism of the figures are accentuated when contrasted with a low-energy background. To explain: placing any image on a white background makes it appear energetic and attractive. However, when you choose a background, it shows respect to the audience and transforms your narrative into a multi-layered question.
ZH: 9. Your paintings often blur the line between reality and the surreal. How do you balance these elements in your work, and what do you hope to achieve by blending the familiar with the fantastical?
I believe everyday life is filled with events and stimuli that make it surreal. You see a tree displayed in a city square or a large rock placed in the middle of an intersection, or people talking to themselves while actually on phone calls—these are examples of urban surrealism.
ZH: 10. The figures in your paintings often appear as though they are in their world, despite being in a shared space. How does this sense of isolation reflect on modern urban life, and is it a metaphor for your own experiences?
Yes, this does relate to my life experience. These figures were captured at different times and places, yet they have an interesting visual connection. They coexist without knowing each other, remaining alone, defining the city, and creating multiple narratives.
ZH: 11. Having lived and exhibited in Iran and the United States, how do you see your role as an artist in bridging cultural gaps? Have new themes or perspectives emerged in your work since your relocation?
The expression in my images hasn’t changed, but the technique has evolved; the energy has increased. New York is a vibrant city, and urban culture is more diverse here—both amazing and surreal.
ZH: 12. Looking back at your career, from your early days in Tehran to your current work in the U.S., how has your understanding of art’s role in society evolved? What do you hope your work contributes to contemporary art discourse?
I have a long journey ahead. I was reborn about two and a half years ago, but this time as an adult. As I progress, things become more familiar, mature, and visually studied—observing, learning, and wandering through city events.
In collaboration with ZH media
Interview by Ali Shahrokhi