Farajabadi heralds the dawn of a new generation of Middle Eastern abstraction. He is developing a unique personal vocabulary, finding inspiration in elements of postmodern western practices and merging them with Middle Eastern ones: in his work, De Kooning dances with calligraphy and Tehran graffiti mingles with Basquiat. A bohemian philosophy guides his practice, and he has found that borrowing styles and images from, for example, the Italian Arte Povera or the American Pattern and Decoration movement has been profoundly liberating.