Bavand Behpoor: More than anything else, Emad’s new artworks showed the importance of craftsmanship and how still (and fundamentally) it is the foundation for the white modern space.  In a sense, Emad is the intersection of Darash and Tanavoli. Between packaging foams of contemporary boxes (which he had manufactured and labelled manually ) he had placed his carefully crafted useless objects which had the gesture of being useful with a reserved irony. Now you would see the beauty of packaging foams which you normally put aside after buying goods so as to reach the thing itself. They are usually the contexts, but this time turned into texts. With all their beauty and through their uselessness, Emad’s works force you to look at them as fine art objects and fortunately they are not ashamed of that.  Only when you see the words, ‘Made in Iran for Export’ you tell yourself it would have been better if Emad hadn’t tried to decorate his works with a conceptual quality. They are sufficiently beautiful and proper the way they are. We have an artist here who does his work properly and is sensitive to the finest vibrations of his senses.