People who are summoned in the nightmare, have no voice and are only shapes. The stare at us in silence and refer to the lamentations of the world, it reminds us of the inferno. Paintings of Azim are frames of this inferno with a revealing insight, they connect with history and quotidian life to show that back behind the ataraxia of this normal life, a dislocated world is hidden. These are scenes of the provoking exhibition that are frozen in the onset of the moment. Lonely people who are appended to the pieces of newspaper, seemingly are frozen monologues. People are staring at us in the triptychs and behind them, a crowd of lamenters are preparing for a horrible ritual, as if they are waiting for the inferno display, the show is happening at this moment, in this image, frozen and over.
Mohammad RezaeeRad

The autopsy at hand, is by no means a simple dissection of the bodies of the dead, as the anatomists like John Bell and Andreas Vesalius have performed. Here, life is dissected without the touch of the blade. The mystified have exhibited their souls and bodies for the staring eyes. The living, having surpassed the borders of shame and fear, and without a word, are dismembered in the ambush of the glance of the observers.
Mona Mobarakshahi

The cornerstone for the formation of these pieces is the fragile border of dream and reality, of madness and reason. A tangibly unclear border which exists in between, can be placed in any template, and embodied in different forms. This seemingly reachable atmosphere propelled me to avoid imagining dream and reality as separate, and realize these two not by the customary approach, and in line with a greater understanding of this realm. The Hypoxia I had in mind from the beginning rose from a mass mania. A madness which grew outwards and became the origin of foulness and hatred.
Azim Morakabatchi