A li Banisadr’s wondrous masterpieces engage the beholder in a visual feast of rich color and compositional complexity. Divinely ethereal and chaotically intoxicating, the artist’s works inspire and reward the viewer. Instead of arranging the work with a central focus point, Banisadr paints decisively to ensure the viewer’s gaze scans across the work. He creates a divine realm through intrepid brushstrokes and delicate detailing that generate an intricate narrative upon each canvas, which emboldens his audience to contemplate the work both in its meticulous rendering of each element and through its cohesion as a comprehensive whole. The artist successfully captures and transmits feelings from his memories as a refugee from the Iran-Iraq war; his fantastical abstract scenes act as a platform for his visual remembrance and personal recollections of the conflict and the violence he observed.

Rendering on canvas the sights and sounds of his childhood memories, Banisadr's work has developed through a prism of art historical references from medieval imagery to abstract expressionism. The artist himself has avowed that the subject matter of his paintings "is based on three things: the history of myself, the history of our century, and the history of art. These things aren't going to change much" (Ali Banisadr quoted in: Jonathan Beer, "Conversation with the Unnamed: Ali Banisadr," Art-Rated, January 2012).

In The Hashashins, Banisadr’s elaborate canvas encompasses various components to create a disorientating terrain filled with vigorous forms, out of scale figures and exotic fauna formed from indulgent dabs of oil paint and luscious smears of pigments and colour washes. Amidst this opulent landscape, Banisadr's painterly brilliance sets the scene for cosmic activity, replicating the chaos of the artist’s childhood memories of violence, confusion and loss.