Nahal Taebnia’s new collection, Introspection, is a vivid exploration of women’s emotional landscapes. Blending figurative realism with expressive colour, she captures resilience, vulnerability, and the complexity of self-reflection. We spoke to Nahal about her creative process, emotional inspirations, and how her background shapes the stories she tells through art.
What emotions or personal experiences sparked the creation of your Introspection collection?
Most of my work stems from deep internal emotions and personal experiences. In this collection specifically, I explored feelings of being lost, confused, and the emotional weight of searching for one’s path. I also reflected on the emotional realities that many women experience: societal pressures, inner anxieties, and the complexities of self-expression. What made this journey even more meaningful was witnessing how people from different ages and backgrounds deeply connected with the work. I took my pieces into the community and observed how people responded, not just passively, but with curiosity and emotion. It was powerful to realise that these paintings communicated something that words often could not.
Your work beautifully blends realism with expressionism. How do you decide which moments deserve softness and which require intensity?
That decision is often intuitive. Some emotions ask for gentleness, while others demand raw intensity. I allow my inner voice to guide me through the process. In this collection, blending realism and expressionism gave me a language to portray dualities: conflict and harmony, strength and vulnerability. One of the most rewarding aspects was realising that people resonated with that duality. When I shared the work, I saw how deeply viewers could feel what I felt. That emotional feedback from such a wide range of people confirmed to me that this balance of softness and intensity speaks across boundaries.
You have described your creative process as deeply personal. What does a typical day in your studio look like?
My studio is a space for emotional release. Every session is different, depending on what I am feeling. I normally use brushes, but in certain moments I paint with my fingers. That physical connection allows me to transfer emotion directly onto the canvas. It is a tactile experience that reflects how personal my process is. When a painting feels like it needs more than just technique, when it needs my full emotional presence, I bring my hands into it. My goal is never just to make a picture, but to translate my internal world into visual language.
Your pieces often centre the female emotional experience. How has your journey as an Iranian woman shaped the way you portray femininity in your art?
Growing up as a woman in Iran, I have experienced emotional and social challenges that have deeply shaped my understanding of femininity. In my art, I aim to represent women not only in a traditional or aesthetic way, but as full emotional beings. Their silence, resilience, joy, and confusion all deserve space on the canvas. I want to show femininity as something layered, evolving, and personal. The feedback I have received from viewers, especially women, has shown me that these portrayals resonate, that they recognise themselves in the emotions I depict.
From colour theory to fashion design, you have studied many visual languages. How do these influences surface in your painting style?
My background in various visual fields has given me a broad vocabulary for artistic expression. Colour theory helps me evoke specific moods. Fashion design has taught me about structure, flow, and the elegance of form. These elements naturally influence how I compose a painting. I see each piece as a design of emotion, where colour, shape, and space all work together to amplify what I am trying to say. Even when the message is subtle, I rely on this visual training to build atmosphere and tension.
You have said “a woman is art, and art is a woman.” Can you tell us more about how this idea shows up in your creative philosophy?
For me, this phrase is more than metaphor. It is a truth I live by. I see femininity and creativity as deeply intertwined forces. Just like a woman carries life, art carries emotion, memory, and transformation. When I create, I draw on this shared energy. My depictions of women are not just about their appearance, but about their emotional complexity. I believe art can give voice to experiences that society often overlooks, especially when it comes to the female narrative. Through my work, I try to honour that connection.
What role does perfectionism play in your practice, and how do you know when a piece is truly finished?
Perfectionism is both a challenge and a guide for me. I pay close attention to detail and strive to make sure everything in a piece feels intentional. But I also believe that true completion comes not from flawlessness, but from emotional resolution. I know a piece is done when I can feel it breathing on its own, when it no longer belongs just to me but feels ready to speak to others. That moment tells me the work is complete, even if it is not perfect in a traditional sense
