Saba is an architect and an abstract artist based in Rome, Italy, and Los Angeles, California. Her work navigates the fluid intersection of history, design, and cultural identity. Her passion for preservation goes beyond architecture, she embraces the enduring beauty and wisdom of Persian calligraphy and poetry. Through a contemporary artistic lens, SaBa breathes new life into ancient traditions honoring the past while reimagining it for the present.

She earned her Master’s degree in architecture from Roma Tre University in Italy in 2017, where she cultivated a deep appreciation for historical preservation, the art of honoring ancient structures while thoughtfully integrating contemporary design. This philosophy now flows into her visual art where she merges the graceful fluidity of Nastaliq Persian calligraphy with the expressive abstraction of Siyah Mashq. The result is a dynamic interplay of structure and spontaneity, tradition and innovation.

SaBa discovered her passion for calligraphy in childhood when she would lovingly trace the graceful curves of Nastaliq script from books, copying each form with quiet devotion. Her formal training began in the first year of high school, when she joined the Iranian Calligraphers Association in Mashhad and studied under esteemed master calligraphers. After four years of disciplined study, she earned her Momtaz diploma in both Nastaliq and Shekasteh Nastaliq in 1999. Since then, she has continued to refine her craft through advanced courses and exhibitions, steadily deepening her artistic mastery and personal connection to the tradition.

As she later pursued academic studies in architecture in Italy, SaBa discovered a profound resonance between the principles of calligraphy and architectural design. The aesthetic foundations of both disciplines, strength, balance, rhythm, and proportion, seemed to echo and enrich one another. Drawing on this synergy, she began using architectural tools such as AutoCAD to analyze the structural logic of Persian Nastaliq script and to map the spatial dynamics of her compositions. In doing so, she seamlessly wove traditional artistry into contemporary design methodology, bridging past and present through both form and intention.

While she deeply honors the richness of Persian literature and poetry, she seeks to be recognized primarily as an abstract artist, one whose creative process is rooted in the strength, fluidity, composition, and spontaneity of Nastaliq calligraphy. She invites her audience to engage with her work visually and emotionally, rather than intellectually or linguistically. This shift in perception challenges the conditioned impulse to read letters as text, offering instead a space where form, movement, and spatial rhythm can communicate at a deeper, more intuitive level. While she acknowledges the profound role of verbal language in shaping human thought and perception, she positions her practice at the intersection of language and abstraction, where letters are freed from their semantic function and reimagined as aesthetic and emotional vessels.

Saba’s work is a visual dialogue that bridges past and present weaving together tradition and modernity. By deconstructing and reimagining Persian script, she breathes life into language transforming it into a rhythmic living form. Her art invites viewers to experience meaning not only through text, but through movement, emotion, and spirit. Each piece becomes a bridge through time preserving cultural memory while reinterpreting it for the contemporary audience, keeping heritage alive in a language that continues to evolve.