Moslemian's modernist approach can be traced in all of his large canvases, which are, at the same time, inspired by structure of Persian classical miniature painting. There rules a particular method in his model behaviour with canvas; his basis, unlike what is customary and typical in miniatures, is not unwavering or indissoluble. Nonetheless, both the evolution and transformation, in his mode, are quite internal and original. The reason to such a transformation is the role of individuality and eccentricity in his works, which has always been the deviating point to distinguish his art apart from those of the miniatures.
With all these communicative and lingual possibilities, Moslemian summons the onlooker to an experience of synchronized past and present. What is revealed is a fusion of tragedy and lyricism: tumult of severity, outburst, captivity, and death against the pleasure of love, tribute of beauty, and passion of freedom.