Ralf Weingart
from the katalog "Land in Sicht", 2011

Inspired by impressions of nature and the environment, Zahra’s pictorial inventions nevertheless forego any intention to portray. More appropriately one might call it working analogous to nature. The contemplative rhythm of repeatedly applying paint, removing paint and then painting over it again gives birth to works which also include guided fortuity.  Transitory phenomena in terms of form and colour become highly associative cyphers for perpetual growth and decay. Their process-like character incorporates movement and expands the moment. Blurring congeals into a poetic metaphor for permanent transformation in which the microcosms and the macrocosms meet. 
A series of large-format drawings are reminiscent of the paintings, but a final horizontal strip keeps the paper base as an empty white surface that is potentially still open to all kinds of forms. This irritation breaks the autonomy of the self-contained picture and indicates the interrelation with a larger whole that can only be experienced fragmentarily.