To date, he has reproduced sixteen inscriptions from Achaemenid times. But only six were displayed in his show, including the ones from Bistoun, Naghsh-e Rostam, and Persepolis.

Talking about the process of recreating these, the artist said: “Historic inscriptions are in danger of erosion, breakage, and accumulation of sediments. Their physical appearance can change due to a number of reasons. I began studying the inscriptions and recreating them with different materials such as paper, wood, and rocks.”

He said he has used mortar and materials available in Iran for his works, adding: “This has a good resistance and allows for carvings at the same time. The base mortar I use in my work is made of natural, sustainable materials with high durability. I have used a chisel and hammer to carve the writings available in historic documents in the same script.”

In answer to the question of whether the inscriptions were an exact replica of the historic ones, Khadiri answered: “The form and script are the same. But I have used my own ideas from an aesthetic perspective.”

Khadiri has made the inscriptions based on the version of Professor Schmidt as the latest modified samples that linguists, museums, and universities rely on. He plans to recreate another 14 inscriptions over the next two years.

He is interested in exhibiting his inscriptions in museums abroad for an academic, specialized opinion. He believes that over 80 percent of his works are based on historic documentations and research, and only 20 percent is artistic and technical.