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Handasaism Statement:

Handasaism, my distinctive painting style established in 1985, is the fruition of merging the visual methodologies of Realism and Geometry. It intricately presents subjects in a two-dimensional, colorful composition that exudes elegance and reality. Derived from the fusion of Farsi and English, the term "Handasaism" draws from "Handasa," meaning Geometry.

From a young age, my focus on the essence of materials, their elements, and their portrayal in my art kindled a curiosity about fundamental structures, object particulars, the human form, and the captivating nuances of nature. This curiosity prompted me to expand my artistic vision from surface shapes to the very core of their structures. This exploration revealed that the foundational structure of each element is rooted in geometric forms, ranging from a single point to multi-dimensional shapes. Remarkably, this insight emerged before I had any exposure to modern art techniques, particularly cubism.


Handasaism initially found expression through watercolor on paper, though my current preference leans towards oil or acrylic mediums on canvas, imbuing my artworks with vibrancy. The geometric composition at the heart of Handasaism adheres to design principles, the rules of traditional realism, and realistic linear and aerial perspectives, all constructed from a variety of regular two and three-dimensional geometric forms. My understanding of Sacred Geometry further enriches my recent works, deepening visual perceptions. Importantly, every Handasaism artwork is entirely handcrafted, devoid of geometric tools or digital aids.

Themes and Subject:

Handasaism's themes originate from the fabric of human society and the tapestry of everyday life. The tumultuous socio-political climate in my homeland, Afghanistan, coupled with constraints imposed on women, ignited my urge to portray women's values and experiences in a distinct visual manner. As such, women hold a pivotal presence within my geometric compositions.

What Sets My Style Apart?

In contrast to Cubism and other geometric-based styles, Handasaism distinguishes itself through its unwavering commitment to presenting subjects and objects within its realistic compositions from a singular line of vision and perspective. Even in cases of overlap, each geometric shape and element retains its authentic organic structure. This adherence to a single, unadulterated medium further sets Handasaism apart from Cubism and other geometric styles, which often employ a mix of geometric or semi-geometric planes, shapes, collages, or mixed media as their artistic mediums.

Unlike its frequently misconceived link to absolute geometric shapes, Cubism predominantly engages with non-geometric forms. In contrast, Handasaism achieves a distinct synthesis by seamlessly integrating absolute geometric shapes within a framework of realistic visual representation. This notable departure positions Handasaism apart from Cubism's emphasis on multi-perspective rendering and mixed-media exploration.


Handasaism has earned acclaim from prestigious art institutions in Afghanistan, classified as an experimental category in the Artist's Magazine, and is copyrighted at the Library of Congress in the United States. To date, I've crafted an extensive series of nearly 50 Handasaism paintings. Some of these pieces are permanently showcased at the Embassy of Afghanistan in Tokyo, Japan, while others grace private collections.


As a woman artist, I employ Handasaism as a potent tool to shed light on the multifaceted challenges faced by women, especially in societies marked by gender disparities. Through my unique artistic presentation, I strive to amplify the essential narratives of women's lives.

In summary, Handasaism stands as a testament to the harmonious blend of Realism and Geometry, carrying within its strokes a profound exploration of structures, societies, and women's experiences.


Founder of the style