In many of Nassir’s work, a narrative style can be recognized. Not as one would expect of a rendition of a story but in a manner that the signs or associations suggestive of an event can be observed in his images; saved and documented images from popular tales. But what is this unknown tale? Documentary events, myths, legends, folklore or a modern fiction? These images are open to different interpretations. Like the human mind, Nassir’s visual world—resembling a creative instrument—accumulates stories and produces readymade snapshots. Therefore, the images are not only interpretations of the artist’s fascinating mental moments, but they are also the interpretations and documentations of unknown tales: images of human relationships (solitude, eroticism, descent, anger, power, etc.) that materialize in a changing field while the background is evolving. This narrative aspect of the images is further empowered not solely by the figures, but also by heteroglossia, the depth of space and visual continuity and of course the peculiar nature of landscapes and the touches of paint. His work, more than expressing the presence of a painterly mind, are the presence of the mentality of panting. They are the painterly contemplations of painting.
— Alireza Rezaei Aghdam