For contemporary painter Zohrab Salam-zadeh, precision is fundamental to his visual language. His work, shaped by a background in theater design and a long-standing interest in miniature painting, is built on clarity, structure, and control. Every element in his compositions is placed intentionally, often envisioned before the brush touches the canvas.
“I always know what I’m working on first, and what comes next”, he says. “I treat my painting process like architecture. First one layer, then the next. It’s not chaotic. It’s built step by step”.
Salam-zadeh, who studied at Azimzade State Art School and later specialized in set design at the Academy of Fine Arts, brings a scenographic sensibility to his paintings. This theatrical approach is evident in the way he constructs space: foreground and background are choreographed with precision, and the details appear deliberately placed. The compositions often resemble carefully staged sets: clouds hang on strings, stars seem cut out one by one, seas are imagined rather than literal. While the theatrical influence is clear, his visual language remains grounded in the traditions of painting, merging dramaturgy with pictorial discipline.
He is also drawn to framed compositions and stories that break outside of their own borders - a legacy of his fascination with miniatures. “It’s a refined, almost unattainable form - very delicate and beautiful”, the artist highlights. “I’m drawn to its narratives, its motifs, and use of color”.
This interest in detail extends beyond aesthetics. For Salam-zadeh, painting is a form of construction. He builds the narratives, starting with one area, moving to another, then returning to refine or complete the first. He works with fine brushes that don’t cooperate with dried paint. Timing is everything. “Once I apply a layer, I have to wait for it to dry just enough”, Salam-zadeh explains. “If it dries too much, I can’t go over it again”.
The tools are non-negotiable. So is the routine. Salam-zadeh works long hours, usually alone, often leaving the house only once a week. “I sit and paint”, he says. “Every part of the work is done with a small brush, so I have to think through the whole thing in advance. Once I start, there’s no room for changes”.
His figures are still. They don’t look out at the viewer. Most appear with their eyes closed or turned away.
Even in works that feature mythical or folkloric imagery the tone is not overplayed. But a dry sense of humor does occasionally slip through.
“When I paint a jinn, I imagine them as mischievous creatures”, he highlights. “They hide things, sneak around, and are afraid of people”.
Cinema is another influence, especially filmmakers known for their visual structure. “I love Wes Anderson’s films - the colors, the symmetry, the structure”, Salam-zadeh remarks. “His style draws me in”. He also admires Parajanov. “Sometimes you want to pause and study a single frame - the way everything’s composed”. Even artwork titles are handled with care. Some arrive early in the process, but most are settled after the painting is complete. “We - my wife and I - sit down and think about it together”, he explains. “We call it a family council. The process can take several days. The title has to suit the piece”.
Despite the meticulous order in his compositions, the painting process itself is deeply personal to the artist. He has painted since early childhood, and never stopped - even through difficult times. “Back when the Soviet Union collapsed, things were tough. People had very little. But I always had my paper and pencil”.