Farhad Moini

Farhad Moini grinds his own marble dust from offcuts sourced at a stoneyard outside Yazd, sieving it to a fine grade before folding it into oil paint by hand. The mineral catches ambient light the way the salt crust of the central Iranian deserts does — flat white from across a room, faceted and glinting the moment you stand close enough to see individual grains. He builds each canvas in a dozen or more thin coats, letting each dry fully so the marble sits at different depths rather than clumping on the surface. Moini has visited the salt flats near Kashan repeatedly to study how the light changes across a single day, and times his studio sessions to match. His paintings reach ATG through a screened export partner.

Farhad Moini mixes crushed marble dust into his paint to catch actual light the way the central Iranian salt deserts do — canvases that read as blinding white until you stand close.

Isfahan, Iran

That blinding white is never actually empty — it just requires standing close enough to see what's catching the light.