With hands full of colors and a keen eye, he creates a new world on a blank canvas. Every brushstroke paints his emotions—as if the colors speak the language of his heart. In the silence of his studio, dreams come alive, and moments become eternal in frames of paint.
He’s one of those multifaceted individuals—those whose lofty spirits can’t be satisfied with just one pursuit. That’s why, for 28 years, he has lived with colors. For him, painting is more than a goal—it’s a mission.
At the same time, he works in tourism and hospitality and holds a degree in public health from Isfahan University of Medical Sciences.
He introduces himself as Hamidreza Soleimani, born under the zodiac sign Pisces, from the turquoise-domed city of Isfahan. We sat down with him for a conversation.
When did you realize you could be a painter and had a talent for it?
The moment a person’s creativity is first praised, when those around react positively to something they’ve created—even if it’s something basic—that’s when they realize they have a gift. That moment activates the potential to continue down that path.
I’ve loved painting since childhood, but it was the encouragement I received in my teenage years that truly motivated me to pursue it seriously.
How did your family react when you decided to pursue painting?
My family has always been supportive. That kind of backing—especially in the wider society—is crucial for an artist’s growth. It’s one of the key influences.
Where did you begin?
Visual arts training usually happens in two ways. One is academic—through formal education at university. The other is informal, where a person might study something else or have a different job but continues painting independently.
I belong to the second group. I pursued painting outside of formal institutions—through study, persistence, and learning from masters in various courses.
What painting style do you follow?
There are many styles in painting. Each artist chooses the one that resonates most with them and best conveys their message to the audience.
The viewer’s thoughts and the artist’s vision must align on the canvas. That’s why artists pick the style that allows this connection to come through most clearly.
I believe I now have the ability to work in the realism, photorealism, and hyperrealism styles. Currently, I’m working on a collection titled “City of Tales”, in which I mostly employ hyperrealistic techniques.
What are the differences between oil painting, watercolor, pastel, and gouache techniques?
These four are among the most distinguished techniques in painting. They differ significantly in how they’re applied.
Watercolor is a transparent technique with bright, delicate effects. It has a more spiritual and subtle feel. Its greatest advantage is the speed at which it can be executed.
Gouache sits between watercolor and oil painting. It’s thicker than watercolor and gives the artist more control, especially when it comes to using bright tones.
Oil painting is a rich and enduring medium. It is considered to have higher artistic value, mainly because it takes longer to execute and requires more advanced skills.
Pastel is a very soft and delicate technique that can be completed in a short time. One downside is that, since it’s often applied with chalk on suede or cardboard, it is more prone to damage.
Do you teach art as well?
No.
Why not?
I still see myself as a learner on the artistic path—not yet at the level of a master. That’s why I don’t place myself in that position.
Another reason is that I don’t have the time. I also write, and my professional career is outside of the arts. I often find myself short on time.
If you were a teacher, what would be the most important piece of advice you’d give your students?
I would tell them: Art is like a pair of white wings meant to help you grow. Design your own wings so you can fly when needed—and not fall prey to darkness.
Is painting considered an industry in Iran the way it is in some other countries?
Before answering that, let’s widen our lens a little and first define art.
Art means awareness.
Not everyone who paints or sculpts is necessarily an artist. If we categorize painting as one of the visual arts, based on the definition we just gave, a true painter is someone who engages in conscious creation. If we go by this definition, the concept of “industry” loses its usual meaning. The scope of art as awareness is so vast that it encompasses all of its subcategories.
What do you think about art auctions and multi-billion toman sales of paintings?
In my opinion, such auctions can help strengthen the commercial aspect of art—but on one condition: they must not harm the authenticity of the artwork or the message it conveys. A work shouldn’t be valued just because it bears the signature of a certain master. Instead, the concept and intention behind the piece should be the basis for its valuation.
If you were to define painting in a single sentence, what would it be?
Painting is a boundless language that expresses emotion, thought, and beauty through color.
For the past few years, there’s been talk about an “art mafia” in Iran. Perhaps it’s because art has become more profitable and globalized. How much do you think this mafia threatens the essence of art?
Whenever large-scale discussions—social or financial—take place, a form of bourgeoisie tends to arise, leading to upper-tier divisions in society. This, naturally, brings along its own set of complications. That’s how mafias find a way in, creating backstage dealings.
In my view, both the artists and the organizers must take responsibility for pruning and filtering this situation. Whenever major events occur, side issues are inevitable. We can’t claim to be free from it. For example, what happens in Tehran’s art auctions—like the sale of a single painting for extremely high prices—is, in my opinion, an extraordinarily positive development. It gives value to artists and provides a platform for showcasing visual art.
However, as you mentioned, the shadow side of this—those ever-present sidelines—needs to be managed and filtered by the artists themselves and the executive bodies.
How seriously is painting taken in Isfahan, and is there strong support for it?
Isfahan is the cradle of Iran’s handicrafts. If we examine Isfahan’s art history, we see that it was the capital of Iran during three important eras: the Buyid, Seljuk, and Safavid periods.
Whenever a city becomes the cultural, political, and social hub of a country, it naturally draws a concentration of various disciplines. As mentioned, Isfahan served as Iran’s capital especially during the Safavid dynasty, and in these periods, many artists were active in calligraphy, painting, tile work, inlay, and woodcarving.
Over a hundred handicraft fields have been officially recorded in Isfahan. However, the prevailing view is that decorative art has historically held more prominence than conceptual art. Most of the artworks seen in Isfahan were created either by royal command or for the adornment of palaces and museums. Another important aspect is the prevalence of handicrafts, which are primarily based on…
They engage in conscious activity. If we go with that definition, the concept of “industry” loses meaning here. The meaning is so vast that it encompasses all of its own subsets.
What do you think about annual art auctions and paintings sold for billions?
In my opinion, such auctions can strengthen the commercial side of art—but there’s one important condition: they must not harm the authenticity of the artwork and its message. A piece shouldn’t be priced in billions just because it bears a famous artist’s signature. Instead, attention must be paid to the concept and intention the artist had in creating the work.
If you had to define painting in one sentence, what would you say?
Painting is a borderless language that expresses emotions, thoughts, and beauty through color.
In recent years, we’ve heard a lot about the “art mafia” in Iran. Perhaps it’s because this industry has grown internationally and become profitable. In your view, how much damage can such a mafia do to genuine art?
When big words and major social or financial topics arise, a kind of bourgeoisie emerges, with all its side effects. That’s where the mafia comes in, and things start happening behind the scenes.
In my opinion, the executioners of these events—and the artists themselves—must start pruning and filtering this situation. Whenever something big happens, some level of controversy will naturally accompany it. We can’t say it’s completely free from such issues. For example, when a painting is sold at very high prices at Tehran auctions—it’s an extremely positive event in my view, because it gives value to the artist and provides a platform for displaying visual artworks. But the problems and controversies that always accompany it must be filtered by the artists and organizers.
How seriously is painting taken in Isfahan, and does it have a strong foundation?
Isfahan is the hub of Iranian handicrafts. If we examine the history of art in Isfahan, for many years during the Buyid, Seljuk, and especially Safavid periods, it served as Iran’s capital. When a city becomes a cultural, political, and social center, it naturally gathers various disciplines.
In those three historical periods, many artists in calligraphy, painting, tilework, wood inlay, and marquetry became active. Around a hundred handicraft fields are officially registered in Isfahan. However, the view back then emphasized decorative arts more than conceptual ones.
Most works seen in Isfahan are arts commissioned by rulers or commanders to decorate palaces and museums. There’s also the aspect of handicrafts passed on through master-apprentice relationships, where someone learned a style or technique and began to practice it—perhaps without fully understanding the conceptual meaning behind what they were doing.
Today, most artists are moving toward conceptual art, which is a clear distinction from the past. Isfahan has always had a great reputation compared to other Iranian cities.
Tell us about the painting market in Isfahan and the pricing of artworks.
One issue artists face in selling their paintings in Isfahan is that it’s a city that fosters art. In nearly every household, there’s someone involved in an art form—be it music, calligraphy, mirror work, or painting.
When people encounter a painting, they often say, “My child or a relative also does this.” I’m not saying they devalue the work, but people in Isfahan are familiar with art, while in other cities, people respond to art more distantly.
Because of the abundance of artists in Isfahan and the trained eyes that understand art, selling and presenting works isn’t easy.
How is the pricing of artworks determined?
In auctions, prices are not real values—they’re symbolic and inflated. In pricing a work, several factors should be considered:
What technique was used? What style does it follow? What concept does it represent? What are its dimensions? Is it a commissioned or one-of-a-kind piece? Are there many editions of it or not? Is it signed by the artist? All these affect the price.
What is the price range of non-masterpiece works used for home decoration?
A piece that has no issues with artistic basics like perspective, lighting, and composition—of medium size—starts around 100 million tomans.
How effective are seasonal galleries and exhibitions in promoting art and painting in general?
Festivals and art events play a significant role in encouraging artists to create. Usually, artists don’t have much time to engage in social activities on their own.
When an external organization—like the municipality, a government or semi-government body, or a private institution—holds an art event, artists begin to showcase their works.
After presenting their works, they receive feedback and encouragement from audiences. This feedback can change an artist’s entire path. It’s not just about money. If we remove the financial aspect from art, it leads to the artist’s growth. When an artist has financial stability and mental freedom, they’re more open to hearing audience feedback.
What kind of artworks do you mostly create now?
I produce two categories of work. In recent years, one category involves installations—we create a mise-en-scène or composition that conveys a concept to the audience, usually using elements familiar to them.
The other category involves figurative work using human figures—both categories carry meaning and concepts. Some works hold more emotional value for me as their creator, others less. But when I spend a lot of time on a hyperrealistic piece, it obviously becomes very valuable to me.
Which of your paintings do you feel most connected to?
That’s a hard question because, for an artist, all their works are dear. But if I had to choose, in the oil painting category, I really love the piece Hayrani (Wonder), which is currently in progress and will be completed in a few months.
In gouache works, I particularly like Sepidar-e Sorkh (The Red Poplar) and Gharib-e Ashna (The Familiar Stranger).
Sometimes a work might seem unfamiliar to the audience at first, but over time it will find its meaning and place.
Since Iranians love art and painting, how often do people request portraits from you?
It happens a lot. Actually, this happens in all forms of art. If you’re a calligrapher, people ask you to write a poem or at least their name in beautiful script.
I get many requests for portraits as well. But due to time constraints, I unfortunately don’t have the opportunity to draw for others as much as I’d like.
We were delighted to interview you.
Painting isn’t just an art—it’s a way of seeing the world from a different perspective. Sometimes, certain emotions and states can’t be captured in words. Through form, color, and design, we convey our meaning to the audience.
