
‘Al Khidr,’ Shiva Ahmadi, watercolor on aquaboard, 101.6 x 152.4 cm (40 x 60 in), 2009. Image courtesy of the artist.
Shiva Ahmadi’s art is a dance between tradition and contemporary narrative, where vibrant colors and intricate details converge to tell stories of power, resilience, and identity. Her works are steeped in symbolism, drawing from the poetic richness of Persian, Indian, and Middle Eastern traditions while addressing modern socio-political realities.
Born in Tehran, Ahmadi’s early experiences during the Iranian Revolution and the Iran-Iraq War significantly influenced her artistic voice. She later pursued multiple graduate degrees in fine arts in the United States, where she also navigated the challenges of being an immigrant artist post-9/11.
Currently a professor at UC Davis, Ahmadi is dedicated to nurturing creativity and critical thinking in her students. Her recent exhibition, “Tangle,” held at the Shoshana Wayne Gallery in Los Angeles, showcased new works highlighting female figures immersed in fantastical landscapes of land and water. Through luminous colors and mystical figures, Ahmadi intertwines themes of “migration, war, and the brutal treatment of marginalized people,” inviting viewers “to probe beneath the surface of inherited narratives.”

Shiva Ahmadi at her studio in San Francisco. Photo courtesy of the artist.
Ahmadi’s work has been exhibited internationally, with shows at prestigious institutions such as the Asia Society Museum in New York and the Ontario Museum of Arts in Toronto, Canada. Her pieces are part of esteemed collections, including The Metropolitan Museum of Art and The Museum of Contemporary Art in Los Angeles, underscoring her global impact. Her animations, paintings, and installations consistently push the boundaries of artistic expression, offering fresh perspectives on cultural and political ecosystems.
In an interview with Global Voices, Ahmadi spoke about the influence of historical myths and personal experiences on her art, the challenges of being an immigrant artist, and the evolving role of women in her narratives. She also shared insights into her creative process, her passion for teaching, and her vision for the future of her artistic journey.
Excerpts from the interview follow:

‘Lotus,’ Shiva Ahmadi, watercolor and ink on aquaboard, 304.8 x 152.4 cm (120 x 60 in), 2014. Image courtesy of the artist.
Omid Memarian (OM): Your art often incorporates rich symbolism and references to historical myths. Could you elaborate on how these elements inform your narratives, particularly in series like “Throne” and “Apocalyptic Playland”?
Shiva Ahmadi (SA): Growing up in Iran, I was surrounded by Persian miniature paintings that adorned the walls around me. While beautiful, intricate, and detailed, these images were also surprisingly graphic — many depicted scenes of conflict and fighting, which stood in contrast to their purpose as decorative art. Years later, in graduate school, as I searched for a way to reflect on the world around me, I found these historical images to be a highly relevant source of inspiration.

‘Pipe,’ Shiva Ahmadi, watercolor on wquaboard, 101.6 x 152.4 cm (40 x 60 in), 2014. Collection of The Metropolitan Museum of Art. Image courtesy of the artist.
OM: In your series “Reinventing the Poetics of Myth,” you examine issues such as capitalism and glorifying oil in the Middle East. How do you navigate the intersection of art and politics?
SA: I believe it’s impossible to be Iranian and not be political. As an Iranian immigrant woman, my life has been directly shaped by political decisions. A glance at history reveals how oil politics in the Middle East has played a significant role over time. I firmly believe that much of what has happened in my country throughout its history is deeply tied to the oil dynamics in the region and the impact of capitalism.

‘Against the Pull,’ Shiva Ahmadi, watercolor on paper, 38.1 x 57.15 cm (15 x 22.5 in), 2024. Image courtesy of the artist.
OM: How did your upbringing shape your artistic vision, and in what ways do they manifest in your work?
SA: Growing up during the Islamic Revolution and the eight-year war between Iran and Iraq made me acutely aware of my surroundings, instilling a deep sense of anxiety and instability that later became central to my work. I believe one reason I’m so drawn to working with watercolor is its uncontrollable nature — water flows freely, requiring significant effort and skill to manage. This quality perfectly conveys the instability that resonates with my experiences and themes.
OM: How do your techniques and vibrant colors, rooted in Persian, Indian, and Middle Eastern traditions, reflect your process and the cultural ecosystems shaping your narratives?
SA: Although I am not formally trained as a miniaturist painter, nor do I create Persian miniature paintings, I have immense respect for this traditional art form, which requires dedicated training to master. With its many stylistic schools and rich history, it is a profound artistic tradition. Conceptually, I draw deep inspiration from the narrative elements of Persian miniature painting. The intricate stories, featuring unique heroes and villains, are captivating and thought-provoking. These paintings invite prolonged engagement, revealing new details with each viewing. This quality inspires me to use metaphor and narrative to reflect on contemporary issues in today’s world.

‘Broken Balance,’ Shiva Ahmadi, watercolor on paper, 38.1 x 57.15 cm (15 x 22.5 in), 2024. Image courtesy of the artist.
OM: How have your fine arts degrees and residencies shaped your artistic practice and concepts?
SA: My education proved invaluable, especially since I did not get my BFA in the U.S. and lacked training in critical thinking. At that time, art schools in Iran did not emphasize conceptual development. Attending fine arts programs in the US and participating in residencies significantly helped me cultivate the skills to analyze and discuss artwork while experimenting with new ideas.
Watch: : ‘Marooned,’ by Shiva Ahmadi, single-channel video animation with sound (handmade animation), Edition of 3, Collection of Pennsylvania Academy of Fine Arts, 2021.
OM: How do you teach art at UC Davis, balancing its intuitive nature with fostering creativity and critical thinking in students?
SA: Teaching art students how to observe genuinely is essential. Looking is different than seeing. One of my first exercises for beginning students involves placing a bag of apples on the table and asking students to draw them using simple lines. When we review their drawings, I often notice that the apples look almost identical in shape and size. This happens because students glance quickly at the apples, memorize the first one they see, and replicate it across the drawing. They are drawing from memory rather than observation. This exercise underscores the importance of mindful and intentional observation, which enhances creativity. Once students master this skill, they can apply it across various artistic practices and experiences.

‘Cascade,’ Shiva Ahmadi, watercolor on paper, 57.15 x 76.2 cm (22.5 x 30 in), 2024. Image courtesy of the artist.
OM: What inspired your focus on female figures in your recent exhibition, “Strands of Resilience,” and how do they embody resilience and strength in your narratives?
SA: Before the [COVID-19] pandemic, the main characters in my paintings were faceless and genderless. This was intentional, as I wanted my audience to focus on the actions and message of the work rather than the gender or identity. Like everyone else, when the pandemic hit, I isolated myself in the studio. To cope with the anxiety, I began creating gestural drawings. Over time, I realized that the figures were predominantly female. I believe my subconscious was deeply aware of my own body. Gradually, I started placing women at the center and making them the focus of my work, which led to the creation of the Strands of Resilience series. A few years later, with the uprising of Iranian women, I became even more focused on the issues surrounding women’s oppression, as this is something I have personally experienced growing up under the Islamic Republic.

‘Fiery Descent,’ Shiva Ahmadi, watercolor and silkscreen print on paper, 104.14 x 152.4 cm (41 x 60 in), 2023. Image courtesy of the artist.
OM: How do you see your artistic journey evolving, and are there new themes or media you want to explore?
SA: No matter the medium, my work will always serve as a commentary on the world around me. Currently, I am working on a new animation that will be part of an immersive installation incorporating space, lighting, and music. The interplay of lighting and sound will amplify the emotional narrative, creating a powerful and immersive experience. This project is still in its early stages, and we will see how it evolves. In today’s fast-paced world of constant social media scrolling, I believe immersive installations that engage all the senses can create a profound impact, drawing people into the experience in a way that static media often cannot.

‘Flame Proofed’, Shiva Ahmadi, watercolor and silkscreen print on paper, 104.14 x 152.4 cm (41 x 60 in), 2023. Image courtesy of the artist.