Twelve to twenty-one cells, each holding a tilted square — some nested inside a second, all drifting out of a single hue.
For fashion houses, textile studios and surface designers. Each composition is generated from a numeric seed and can be licensed, adapted or commissioned to your brief.
A square turned by a quarter becomes a rhythm.
I am an Iranian-born artist working at the intersection of classical textile logic and generative systems. My work begins with a simple observation: the woven surface — repetitive, mathematically structured, infinitely variable — has always been a form of computation, long before computers.
Quilt lays a twelve- to twenty-one-cell grid across the canvas and places a rotated square inside each cell. The rotation snaps to one of four quarter-turns, so every block sits on-axis or at right angles — never at an angle in between. Colours are drawn from a single background hue, shifted by a fixed arc and jittered in saturation and brightness.
Some cells carry a second, smaller square nested inside the first — a doubled block that breaks the grid's regularity without leaving it. The result sits between patchwork and composition, between cloth and diagram. Each piece is defined by a numeric seed and can be regenerated, documented, and adapted for textile, print, and surface applications.
The same seed, presented as an archival print — and applied across fabric, scarf, textile and wall surfaces without loss of structure.
Every surface below is drawn from the same numeric seed — its repeat, orientation and scale adapted to the material, while the underlying structural logic remains identical.
A numeric seed picks the grid density — between twelve and twenty-one cells per side — and sets a 5% margin around the canvas. Each cell becomes a square of equal size, and every block is drawn inside it at a randomised fraction of the cell's width.
Each block rotates to one of four quarter-turn positions: flat, ninety degrees, one-eighty, or two-seventy. Nothing sits at an angle in between, so the quilt reads as on-axis even when individual blocks are turned. Colours shift around the background hue by 30–150 degrees.
The resulting composition becomes a surface-design asset — explored across garments, textile prints, wallpaper and other pattern-driven applications.
Quilt is a generative design system rather than a single artwork. Its rotated-block language can be adapted for fashion, textile development and other surface-oriented contexts — while maintaining a computational origin.
Each surface is drawn from the same numeric seed — reproducible, licensable, adaptable to your brief.