Sepideh Nouri was born in 1981 – at the height of the war Iraq was waging against Iran – in the city of Tehran which is both the political capital of the country and its center for artists and intellectuals to seek modernization. Her individual spirit was subjected to the social and political tensions of the 1980s era, becoming embroiled in turmoil and restlessness like many of her peers, perpetually seeking situations divergent from the dominant discourse in society; to discover an infinite realm called the unconscious, a different way of being in a space brimming with ideological and political prohibitions.
In developing societies or countries with a long-standing, ancient culture and history, there exists nothing but art and literature for those who seek to express their overpowering emotions and sensitivities towards people and pursue their individual concerns and frets. Becoming aware of her interest and talent in the arts in no time, Sepideh began studying graphic design at the age of fifteen at the school of visual arts in Tehran. In the same vein, she focused on design, chromatics, painting, and model making at university for over a decade. At a later date, she found the brilliant opportunity of working with the international Iranian artist, Parviz Tanavoli, continuously working with him for several years and learning the techniques of sculpting and jewelry making.
Traveling to England to witness the unraveling of contemporary art and medium & media from close-up provided a reason to study the global history of art from the Paleolithic times to the present for ten years academically and gain new insights into the 21st century along with new approaches to her ideas (materials, construction, execution, presentation).

Upon returning to Iran, she participated in a range of international exhibitions, such as the British Museum and shows in Kuwait, Beirut, Doha, and Cypress, with eye-catching feedback. Several years of professional cooperation with one of Iran’s top galleries (Etemad Gallery) brought much of her womanly sufferings and concerns to the eyes and ears of the public through her sculptures and mixed media works. Her trials and tribulations provided her with extra strength and insight into producing artwork. Her line of thought, apparent in all of her works, is one of the reasons for the success and acceptance of her work by critics, artists, and collectors alike. In other words, her work concentrates mainly on human relations and prevailing crises. Her efforts in sculpting, printing, and mixed media revolve around the critique of suffering, international wars, violence against women, abortion trauma, and the aftermaths of destroying the human life cycle.
Her work techniques (e.g. materials: mixing mineral paint powder and epoxy in the rim paint collection) and her technical execution abilities (e.g. the work on the grenade effect with more than five thousand welding points) are what sets her aside in the current trend.
It is worth mentioning that she is the only artist with two works from her series “Armed nightmare” displayed in the main presidential building in Iran which have been overwhelmingly welcomed by people from different social strata. During the past ten years, she has staged over thirty group shows and three solo exhibitions at Etemad Gallery.

In her latest vision, she is gaining a clearer insight into the social current of her life, making new discoveries and revelations, expanding meaning, and answering more serious and newer questions.