"Hamid," my artistic pseudonym, is the name I'm known by. My full name is Seyed Abolhasan Zaribaf. Born in Tehran in 1970 into a family where art, especially painting, was a common practice, I learned Iranian miniature painting and calligraphy from my father until the age of thirteen. Afterward, I attended the Art and Graphics High School. Teachers like Asadollah Chehrepaz (graphic designer), Hassan Yaghuti (painter), and Hossein Khosrojerdi (painter) played a significant role in shaping my artistic identity. In 1999, I enrolled at the University of Art and Architecture, simultaneously joining the workforce to support myself and satisfy my passion for graphic design. In 2001, I became a member of the Graphic Designers Association, learning from masters like Morteza Mirmizi and Eirej Mirza Ali Khani. Working in Shohreh Sarmest's personal studio introduced me to Western graphic design and branding. Throughout these years, while working on graphic design and advertising projects, I continued painting. Following the social changes in Iran, I chose painting as a medium to express my dissenting views. Hamid Zaribaf's paintings offer a critical and conceptual commentary on contemporary Iranian society, particularly the challenging conditions faced by Iranian women. His work also explores the concept of the Iranian family. The culmination of nearly two decades of painting is represented by two projects. The first, "Women and the Persian Carpet," examines traditional Iranian societal perspectives. Iranian women, like exquisite carpets, are used to decorate homes. Their beauty and delicacy are confined to the domestic realm. They toil and bear the marks of time on their faces, growing old and sometimes replaced by newer carpets. The second project, titled "The Iranian Pool," introduces traditional Iranian culture and its connection to Qajar-era architecture. It explores how a pool can warm a traditional family gathering, while also offering a meticulous examination of its unique forms and properties."