The central focus of the picture is Abbas Attar who sits on a somewhat imposing chair like a satisfied ruler. At first glance the photograph expresses a feeling of patriarchal power in relation to the family members around him. But on the other hand, through the poses, gazes, domestic staging and close interaction among family members, the photograph reveals a sense of an intimate and dynamic atmosphere, reflecting the genuine bonds among the family members.

The deliberate arrangement of individuals speaks of the inner dynamics within this family structure. The women, with their smiles, evoke feelings of kindness and nurturing, while the men stand behind the women, playing a supportive role. On the right side of the picture we see a gentle slope in one of the benches, metaphorically representing the unpredictability of life and its inherent struggles. This also reveals the shortcomings and doubts within the seemingly strong family framework.

Family portraits are more or less intertwined with the concept of death, and the image of the human skull has always signified the certainty of death’s presence. In this photograph death appears in the form of a girl sitting at the end of the bench, creating a striking contrast with the overall theme of life and family. Over time the family portrait becomes an archive of memory, preserving the tears and smiles of people who have crossed the threshold of death. The depiction of the faces within the frame echoes the silent footsteps of merciless time. Also the absence of faces that were once present speaks to a painful coexistence between the vitality of the moment of photography and the inevitable brevity of life.