Her paintings denounce violence and abuses in general but more precisely those that have been taking place in Iran for decades. When she was only 5 years old she witnessed first-hand the terrors of the Iranian Cultural Revolution. When the family returned home after a period living in Berlin, all signs of their intellectual lives had suddenly to disappear without trace. Her parents had no choice but to destroy their collection of records and cultural artefacts that were in their home. The artist also experienced the war between Iran and Iraq, as her mother was a doctor, she was deeply touched by observing the wounded soldiers returning from war. Not surprisingly Ahmadi’s works are full of blood expressed through the red watercolour which covers a part of the works. At first glance however, the beauty of Ahmadi’s images hides the fact of what is actually taking place.

Working predominantly on paper, her highly refined technique and exquisite use of colour enables her to reinvent this ancient and highly refined art form without paling against the originals, although the large sizes of many of the works already creates a divide from the original pieces which would have been part of a book as opposed to an individual art piece hanging on the wall.

The artist’s new body of work signals a departure from her previous output in that it focuses on the plight of women caught up in the violence in the world. Inspired by the horrendous situation in Iran where young women have been killed for merely refusing to wear a hijab, these paintings have a far wider relevance. One is immediately seduced by the richness of the colour and the distinguished compositions in which the figure of a woman is always the protagonist. When one begins to look more deeply into these compositions, it becomes apparent that all the women are missing at least one limb and that beneath the rich web of colour, black and white images of bombed out buildings appear.