As a young student in Iran, I practiced the art of Calligraphy, Nastaliq, which was a predominant style in Persian calligraphy. The main characteristics of cursive Nastaliq, is that the letters are stretched and have beautiful thick and thin curves. These sensual lines were not only in our writings, but they were also evident in the curvilinear Arabesque patterns in the rugs that covered our homes. As a sculptor, this translated for me to a personal vocabulary of organic forms and lines that were shaped by the natural rhythms and patterns in nature and the inner body. As I cut, hammer, bend and weld on metal, I make wall installations with tactile forms that twist and turn, stretch and tear in to sketchy lines. They have become linear maps for birth, growth and decay.