Bahram introduces 'social interaction' as a subjective mechanism that is shaped by a series of individual urgencies, such as desire, rejection, or satisfaction. Through these urgencies, he speaks to the inability of the self to fully express its intended identity. Bahram's creative practice involves performance, installation, books, ephemera, social media, video and photographs. His works revolve around the idea of affirmative negation and questioning the peripheral relationship between medium and message. He unpacks his installations and performances through presenting the impotent medium, such as texts that are incapable of conveying their intended message, destructed photos that are depleted from the iconic value of an image, and bodies that are unable to project the real identity of individuals. Within this destructive space lies an important and affirmative sentiment, which is the main objective in his relational practice: the possibility of relocating the meaning from the art object to the contingency of reception.Bahram has shown nationally and internationally ranging from venues such as ArtHelix Gallery, Brooklyn, NY; Gowanus Loft, Brooklyn, NY; East of West Gallery, Santa Fe, NM; Yerba Buena Center For the Arts, San Francisco, CA; Mission Cultural Center, San Francisco, CA; Reed College, Portland, OR; Jordan Schnitzer Museum of Art, Eugene, OR; Umpqua Valley Arts Center, Roseburg, OR; Plâtre et Moi Gallery, Paris, France; Laatikkomo, Jyväskylä, Finland; Aaran Gallery, Tehran, Iran; Fravahr Art Gallery, Tehran, Iran; Sazmanab Center for Contemporary Art, Tehran, Iran.Bahram's work has been reviewed and featured in Art Practical, PBS News Hour, Voice of America, The Santa Fe New Mexican, IranWire, among others. His practice and research has been supported by grants and awards from the Tokyo Foundation for International Research, Ford Alumni Center, University of Oregon and Society for Photographic Education.