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Mohammad Bozorgi was born in 1978 in Tehran. In 2012, he held his first solo exhibition in the Homma gallery called “Visual Manifestations" in Iran. He has participated in more than 15 domestic and international collective exhibitions. His works have been sold in well-known auction houses several times. His artworks are collected by some contemporary art museums, such as the Islamic Arts Museum of Malaysia and Tehran MOCA. His book called "Nun Wa Al Qalam," Dr. Haba Barakat and Adeline Ghani, Islamic Museum of Malaysia, Kuala Lumpur, in 2013. Mohammad Bozorgi is known for his innovation while preserving the original techniques. His works are created through labyrinthine spaces and abstract illusions of movement and space with complex symmetry and the visual brilliance of Islamic manuscripts. He approaches his art with an architectural eye perceptible in letters' mathematical structure and symmetry, especially in his Crying for Honor series. Due to his background in engineering, he makes detailed and precise calculations when creating his work. Mohammad has done in-depth studies on classical calligraphic forms such as Divani, Kufic, Nastaliq, Naskh, Sols, Mohaggegh, and Broken Nastaliq to develop distinct characters about the Arabic and Persian patterns. “In many of my works, I envision the artwork in its entirety before concentrating on its components. After I visualize the composition of my work and draw the sketch, the letters, words, and even the stylized characters are placed exactly where they belong, like architectural materials in a building. ” Bozorgi said about the creation of his art. He is exceptionally knowledgeable about the features and motion of every letter and is able to create unique pieces by imagining the postural movement and negative space of all characters. His style is Islamic/Persian calligraphy; in fact, it is quite different from classical calligraphy, meaning that if we had to group his style with one of the classical forms of calligraphy, it would be closer to Arabic calligraphy than the traditional Iranian style. “I refuse to limit myself because I believe if calligraphy is seen as a form of passage to the soul, the artist can move beyond all affiliations, even theoretical dependencies, such as genre and ism. in my opinion, the purpose of contemporary calligraphy shouldn't be only based on the message that needs to be delivered. Calligraphy should be the carry of inspiration as much as being the source of it, unlike the traditional way where it was only the messenger of a vision. By accepting tha calligraphy is no longer just a form of text, all efforts put into this field will be to mend and renovate modern culture. Visual artists have ignored this mentality in various eras, and revolutionizing culture has been disregarded by justifying fundamentalism and financial interest. ” Mohammad Bozorgi said in one of his interviews. In the introduction of one of his exhibitions, he stated: “Writing as a means to avoid the truth of your words is the same as being a spokesperson who steers clear of speaking. Like the hidden intent behind my words, which is not to say anything and say nothing! To observe and not see. My writings are filled with infinite contradictions; the endlessness and perplexity of writing are what persuades me to write. Writing as a way not to write and drawing as a way not to draw, constantly immersed in infinity between the positive and negative space! I say this without exaggeration: calligraphy enables me to exist without being.”

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