Mehdi Shirahmadi’s works clearly demonstrate a return to the traditional arts. Their primary materials and elements come from Iranian old crafts, particularly Khātam (an old technique of inlaying). However, Shirahmadi’s works are not a repetition of the practice of Khātam or other traditional crafts, neither a mere engagement of Khātam in new shapes and dimensions. In his works, the new elements contemplate on and question the old forms. The pieces of Khātam are not presented to us in their familiar time-space. The motifs no longer inhabit their organized, bounded world; rather they occupy shapes and volumes which concretize no reference and no practical use. Their sizes question their delicate, minute and exact size and essence, while their sheer contrast does not upset the coherence of the artwork. Shirahmadi’s works bring forth and eradicate the time-space of the outdated at the same time. His works are a “deconstruction” of the Khātam crafts.