Persian art tends to de-realise, so the metaphor follows a descending gradation: human is compared to animal, animal to flower, flower to gemstone.
This progression may seem to go from the animate to the inanimate, but the Persian is indifferent to this, as she is content with the interplay of shapes and colours.
Persian art does not try to re-live emotion, it takes memory as memory, works with dreams, shades, ghosts, patterns and colours.
The aim is to leave imagery behind, as it is lifeless and idolises a point in time. Better to go beyond, and reveal the beating heart of the life that moves amongst us all like a magic lantern in a shadow play.
This comfort with explosion to the infinite completely up-ends the western stasis of solid unity, the known object.
We are swimming in a vast sea of family. Come in, the water is fine.