 It is 20 years of work, because we have older pieces from 1988 to now, and it gives a taste of all of the aspects of my work that I do, not only my embroidered work, my embroidered painting pieces, but also my garden pieces, the RFGA, the works with photos, the installation, etc. It is a woman that I redraw from the magazine. I choose the one that I find sexy. Maybe I like the powerful one. Maybe the way I draw, I render them powerful. Anyway, all of this work is for me to empower myself more than really important woman, not here with a message to teach about anybody else's sexuality, or I have a lot of problems and difficulties with my own. You know what I mean? How did we all, like people, men, women, Muslim, Jewish, Christian, got into this terrible situation where our body became our enemy, so repressed and so miserable. My drawing are my diaries. I don't know how to talk about them conceptually. Yes, it's about princesses and fairy tales and love. This is my thing. I have been trained in drawing because the painting teacher wouldn't teach me to paint, so I had to draw, so I had no other choice. Everything that I do is about drawing. It's not to prepare their canvas. This is for definition of the word freedom, love, security and peace, and their definition in Arabic, written and embroidered in Arabic for panels, and I chose to show them in a non-Arabic speaking country because I wanted people to just look at the word and deliberately not understand them. There's no understanding of this word when you see it and you don't understand the language. You just see it as a decoration, not important. This word probably they don't love the same way that we do or they don't have security the same way we do. I wanted as well to prove to myself that those words still exist in our dictionary and to prove to the other that we happen to have as well those words, which is not associated as well media with this culture, with the Arabic culture anymore and all of the violence, because they put in advance all the violence and not as well the good things. I love Paris. It's a collaboration between me and another artist from Iran called, her name is Dladan Shahroq Naderi. I did this piece in 1991. During this period there was a lot of terrorist attacks in France. It was clear that anything Muslim is a scary terrorist. It's not good to be like this. They have to look like that. The same discourse that now after September 11, you in America have. So we're thinking we don't like that shadow either or we don't like them. We don't want to be forced to wear this. But as well we don't want to force the other people to unwear it. Everybody should be free and everybody should respect this choice. We thought that we wanted to make this point. So we did this series of visiting Paris as if we were like tourists and this is the way we would have been brought up. And it was very badly received in Paris at that time. This is the ideal couple. It's kind of the skin that you want to go inside as well as trade jackets. I wrote Barbie Love Skin, Barbie Love Skin as a punishment. It's about a ridiculous couple that are a little bit mad, obsessed. Since 2000, 2001, I have a series that is labeled RFGA. It's in the title and in the signature. The RFGA stands for Reza Farkondi Cadamere. It acknowledges all of the paintings that Reza Farkondi has collaborated in. He's another artist. I met at school in 1998. He was hit by a very, very severe depression. He's a painter himself and he stopped painting. Then in 2000 or 2001 he decided to paint on my canvas without being invited. But it started this very beautiful dialogue and he started to become better. For me it was very magical. It really developed my painting and it's important I think that a lot of my artwork comes from life. It's experience, it's like things happen by accidents.