Bahram's practice revolves around the idea of ‘affirmative negation’ and deconstruction of 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 introduce 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; Yerba Buena Center For the Arts, San Francisco, CA; Mission Cultural Center, San Francisco, CA; Disjecta Art Center, Portland, OR; Reed College, Portland, OR; Jordan Schnitzer Museum of Art, Eugene, OR; Asian Resource Gallery, Oakland, CA; Umpqua Valley Arts Center, Roseburg, OR; Siuslaw Public Library, Florence, 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 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. Born in Iran, Bahram lives in Eugene, where he works as adjunct faculty at the University of Oregon since 2015.