Body is the purest form of human exhibition. In other forms, we abide by desired or undesired conventions through a myriad of decorations and covers. Painting the human body is in a way emancipation from these economic and social conventions. Through destroying capitalistic goods, the artist aims to display the true human. But the display of human body in various figures and gestures also reminds us of the fact that our bodies are not free from the imposed so-called open-minded gestures. A human, alone in a room is perhaps in its most liberated form, living its desired gestures.

By creating paintings from gestural photographs of herself, Elham Ghorbanishad has successfully liberated human from the forms it is struggling with. We take selfies from ourselves only to show them to others. These photos show us a different human, even though they are our own photographs. Even self-portraits of painters confront the painter with another person who is unknown at times, the other self. They may like them or not. Hidden inside us there are many other selves and art is a place to confront them. 

By precise representation of reality, photography is immensely more in contact with the real world compared to painting. Photographic details of textures, colors and forms are disarranged through painting them. The artist pays homage to painting by flattening the three dimensional and perspective nature of the photographs. Unlike in the photographs, the homogeneity of colors and surfaces between figures and their surrounding objects create gestures that are far less active in the paintings. This has elevated this medium from photography to painting. Free movements of the brush break through the details of the photo and encapsulates the gestures and figures in the same dimension as the rest of the elements in the painting. This surpassing from the medium of photography to painting and the transformation of a beauty into magnificence, is both serious and reflective.