by Erin Amoueyan
Layered Wood, Acrylic Paint, Wood Stain
36” x 24”
$1,100
Inspired by the Damask rose branch, a flower woven through gardens, poetry, and memory. A rose grows from hard ground, carries its thorns, moves through every season, and still finds its way to bloom. For me this piece is about that kind of strength: staying rooted in where we come from, and still allowing ourselves to grow into something new. Because grace is not about having an easy path. Sometimes, grace is simply continuing to bloom.
Artist biography
Erin Amoueyan is a San Diego-based artist, engineer, data scientist, and founder of Naqsh Studios.
She studied painting for many years under Iranian painter Rahim Mowlaeian before immigrating to the United States, where she earned a PhD in engineering and built a career in data science and machine learning. During the pandemic, she returned to active practice and began exploring woodworking alongside painting. Her current work brings those disciplines together in layered wood reliefs that combine color, architectural geometry, calligraphic forms, and hand-finished surfaces. Drawing from many sources, including nature, poetry, built space, and elements of heritage, Erin creates contemporary objects that shift with light and viewpoint. Engineering informs the precision of her structures; painting guides color, rhythm, and atmosphere. She is a member of the San Diego Fine Woodworkers Association. Through Naqsh Studios, she is building a practice centered on careful craft, material depth, and the belief that art can hold both structure and feeling.
Artist statement
I work where painting, woodworking, and engineering meet. I build layered wall reliefs from wood, using color, geometry, calligraphic forms, and depth to create objects that change as light moves across them. Each piece begins as a drawing and becomes a sequence of decisions about proportion, negative space, surface, and shadow.
My engineering background shapes the way I plan and assemble the work, but my decisions are ultimately painterly. I am interested in the tension between precision and irregularity, between a measured structure and the evidence of the hand. Nature, architecture, poetry, and heritage enter the work as starting points, not boundaries. I translate them into contemporary forms that can be experienced before they are explained.
by Erin Amoueyan
Layered Wood, Acrylic Paint, Wood Stain
36” x 24”
$1,100
Inspired by the Damask rose branch, a flower woven through gardens, poetry, and memory. A rose grows from hard ground, carries its thorns, moves through every season, and still finds its way to bloom. For me this piece is about that kind of strength: staying rooted in where we come from, and still allowing ourselves to grow into something new. Because grace is not about having an easy path. Sometimes, grace is simply continuing to bloom.
Artist biography
Erin Amoueyan is a San Diego-based artist, engineer, data scientist, and founder of Naqsh Studios.
She studied painting for many years under Iranian painter Rahim Mowlaeian before immigrating to the United States, where she earned a PhD in engineering and built a career in data science and machine learning. During the pandemic, she returned to active practice and began exploring woodworking alongside painting. Her current work brings those disciplines together in layered wood reliefs that combine color, architectural geometry, calligraphic forms, and hand-finished surfaces. Drawing from many sources, including nature, poetry, built space, and elements of heritage, Erin creates contemporary objects that shift with light and viewpoint. Engineering informs the precision of her structures; painting guides color, rhythm, and atmosphere. She is a member of the San Diego Fine Woodworkers Association. Through Naqsh Studios, she is building a practice centered on careful craft, material depth, and the belief that art can hold both structure and feeling.
Artist statement
I work where painting, woodworking, and engineering meet. I build layered wall reliefs from wood, using color, geometry, calligraphic forms, and depth to create objects that change as light moves across them. Each piece begins as a drawing and becomes a sequence of decisions about proportion, negative space, surface, and shadow.
My engineering background shapes the way I plan and assemble the work, but my decisions are ultimately painterly. I am interested in the tension between precision and irregularity, between a measured structure and the evidence of the hand. Nature, architecture, poetry, and heritage enter the work as starting points, not boundaries. I translate them into contemporary forms that can be experienced before they are explained.
