A cursory look at Bita Vakili’s artistic career reveals several periods. ln the first period we see free abstraction, a process that Babak etminani called "behavior of material", i.e. leaving the white surface of the canvas to pigments and thinners. lnspired by images of the nature, Vakili brings together paint and other medias in this artistic practice and abandons them on the surface of canvas. ln the end, she polishes her paintings, applying controlled brushstrokes. During this period, Vakili is searching for familiar forms in the nature, depicting them in unusual distances- either too close or too far. From this perspective, clouds, waters, streaks in wood and stone, cosmic dust and colorful nebulas assume an abstract form and the artist seeks to record both free and captured forms of the infinite universe.

This arrangement is broken up in the next period and the artist stands within a normal distance from forms in the nature. She looks at objects more closely and, as she puts it, dives to lower altitudes.

During this phase, Vakili’s paintings come to accommodate objects such as textile, natural materials, petals, leaves and moss. lt was a kind of technical experiment with the texture of material, though. The artist strives, at the same time, to approach the palpitating heart of life by adding elements of the nature. she says, "I use the nature to express my feelings."

ln her recent work, Vakili has moved beyond the phase during which she was trying to depict the early monster and abyss. Now she is focusing on the way her new art world is shaped. she is striving to mix her emotions with the composure and dignity of the nature to achieve effervescence and excitement of colors, media and light on canvas. she is no longer seeking to portray phenomena of the nature, because they do not seem to be adequate. Vakili is trying to depict scent, taste and even temperature of the space and to convey different emotions on canvas.

Corporal elements have become omnipresent in Vakili’s recent work, switching her focus on the depth rather than surface, where human beings come from the womb. Twisting forms on canvases, in a way, allude to the embryonic spiral movements. pure, limpid and grey (sometimes pink and red) colors point to the embryonic phase. (Excerpt from Essence of Form Through the Abyss of Color by M. B. ZIAI, March 2012, Paris)