Our first round-up of Iranian artists drew so much interest that we couldn’t resist putting together a Part Two. This time, we are shining a light on names you may have missed, delving into their well-known works and the hidden meanings within, and giving attention to those who truly deserve it. Distinctive, daring and wonderfully diverse — here are five Iranian artists to keep on your radar.

Shiva Ahmadi was born and raised in Iran before later moving to the United States — yet Persian motifs remain central to her practice. Rather than expressing her feelings and thoughts directly, she conveys them through allegory: pipelines and oil barrels allude to Iran’s oil-driven economy; flora and fauna evoke themes of nature, so common among Iranian artists; while figures with blurred faces hint at the political struggles and systems that shaped the country towards the end of the 20th century.

One of her most celebrated works, Pipes, brings all these motifs together. It is a painting that rewards patience — the longer you spend with it, the more layers it reveals.

Shahpour Pouyan was born and raised in a small Iranian city where his father worked as a military engineer. During the war, the city became a frequent target of bombings — an experience that, while not overtly present in his later art, left an undeniable mark on his outlook.

He began his career as an artist through drawing, but a chance encounter in 2014 shifted his path. Reading that children affected by war often found pottery therapeutic, he was drawn to explore the medium himself. From that moment, ceramics became central to his practice.

Although Shahpour no longer lives in Iran, his work remains deeply connected to his homeland. His ceramic sculptures reference architectural motifs from Iran’s three dominant building styles: Islamic, fascist and brutalist. Through these works, he seeks to challenge Western narratives that demonise Iran, instead revealing the country’s cultural heritage as a source of inspiration and fascination

Nazgol Ansarinia is an interdisciplinary visual artist whose practice spans sculpture, installations and drawing. Based in Iran — her enduring source of love and inspiration — she is increasingly described as an “urban archaeologist” for the way she uncovers overlooked corners of the city and reframes its architecture, encouraging us to see the urban landscape anew. But they are not just about the beauty of the city.

Yet her work extends far beyond the built environment. A recent project, Lakes Drying, Tides Rising, looked at the urgent problem of Iran’s shrinking water resources while also reflecting on the cultural meaning of the pools traditionally placed in front of Iranian courtyards. These pools, by the way, were never just for swimming; they once served as sacred reservoirs, symbols of hope and renewal.

Unlike the other creatives mentioned, Newsha works through the lens of photography, telling stories about people and the countries they call home. While her practice extends far beyond Iran — with projects in the UAE, Kuwait, Kenya and England — her motherland has always remained a profound source of inspiration.

One of her most celebrated series is “Listen”, a set of portraits of young Iranian women, many of them aspiring singers. In a country where women are forbidden to perform solo in public, the images become a poetic metaphor for censorship and invisibility. Another important body of work is “Mothers of Martyrs”, which portrays women who lost their sons in the Iran–Iraq War. Both series are deeply affecting, offering not just documentation but a tender, human insight into lives marked by silence, resilience and memory.

Another photographer on our list, unlike the previous one, digs right into the roots — placing tradition and modernity side by side. While her practice resonates across many Middle Eastern countries, her greatest source of inspiration remains her own homeland, where she still lives and works. Her visual language often blends historical references with satire and contemporary elements.

One of her most famous series is “Qajar”, named after the dynasty that ruled Persia from 1789 to 1925. In these photographs, women are styled in vintage clothes and posed against period backdrops, but with distinctly modern props — Pepsi cans, boom boxes — creating a witty yet powerful juxtaposition. Another series, “West by East”, reflects on how Western pop culture is absorbed and reinterpreted in the region. For this body of work, Shadi dresses in Western style but censors parts of the image in line with Iranian norms of modesty.