Where is nature, what’s humans’ place in nature, what is the relationship of modern humans and nature, can we still with traditional beliefs say that the human is a part of nature (in the disproportion of Iranian Contemporary People and nature, it’s enough so that our conception from the nature is just as common images “Pastor Al” such as Northern Natures) 

In Iranian contemporary painting, either there is not a sign of Nature or if it is, should be fined and followed in Dadashi’s Galleries, like Farshchian’s Rococoic Natures or deformational paintings and it’s like cubistic painting, whatever the reason is, its assisting this point that, today’s Iran paintings are too urbanized and conservative, and in shamelessly way tries to find approved and permitted manifestations from (coevals making Organizations), whereas, all of us Iranian know it well that our thousand pieces torn life and full of discrepancy is depended on to realm and nature that we raised up by it and has formed our tradition.

Mohammad Khalili is one of few nature-oriented Iranian painters,  who intentionally has stood a step back from us by his natures from what  we repeat it “media like” in order to polish acquaintance from our imagination of nature, such natures as his have symbolic steams, secretly and scary like our lives, their subject doesn’t have much to say, most of their space covered by dessert ( and of course sometimes a person shown by pool or waterhole) he has looked for to inquire such subject in a time that political and Derision – Oriented Nihilism contexts (momentous) have unquestionable dominance (in fact it is the food of power centers for showing off to existing freedoms) his cold and quite an environment doesn’t need familiar signs, coldness, and silence seen in his colors and shapes, his paintings simply are receptive any paraphrases in form of fiction and are acceptable by any addressers without having any story and that is his sealed secret painting which still refuses “coming to terms”

“Javad Modaresi”