Ahmad Morshedloo is known for his realistic and social paintings and drawings. Morshedloo began his art education at the Boys' Visual Arts Academy. After that, he entered the Islamic Azad University, continued his painting studies, and completed his postgraduate studies at the Tehran University of Arts.

He exhibited his artworks for the first time in 2001 in the Azad Art Gallery, Tehran. His first international appearance was in 2006 at the Museum of Modern Art in Freiburg, and in 2015 he participated in the Venice Biennale with the painting "The Big Game". His presence in the Pergamon Museum in Berlin, the Art Fair in Moscow, the Metropolitan Museum of Tokyo and France, the Mehr Gallery in New York, and the James Gray Gallery in Los Angeles can be seen in his prolific international career, and his works are in prestigious world collections such as the Metropolitan Museum of New York, Saatchi London and Ayyam Gallery Dubai.

The starting point of his work is based on the ideas of socialist realism. He seeks to revive the concept of ​​realistic art that addresses the social concerns and issues of the lower classes. But in this way, it goes beyond this method's orthodox and dogmatic coordinates and opens new horizons for this form of realism. In this way, on the one hand, in his artworks, he gives extra weight to formal issues; This excess is evident in the sharp cuts of the sidelines of the face and its components, as well as the metallic texture that it automatically creates in the skin of the bodies. On the other hand, combining and accompanying the elements deviates from the objective dry logic and moves towards a symbolic and poetic expression. Nevertheless, his paintings continue to commit to a higher definition of reality subject to his political and social concerns.

Although Morshedloo often uses his family, friends, and relatives to create his paintings, in the end, these figures do not remain personal and family images and are generalized to a public image representing the ordinary and inferior people of Iran. Protruding and fat sides, buttocks, wrinkled faces, fleshy spots, and large noses. Regular and everyday clothes.

The bodies Morshedloo makes the subject of his work do not meet the usual beauty standards. Like Courbet, he places ordinary people on the street and in the bazaar as the central theme of his career. Those who have little to do with the formal rules of art: "I am the voice of the silent class from which I come. My people do not stand behind the museums' doors, they do not walk in the galleries' corridors, and they do not open their eyes to shake a hand behind a window. My audience has a hard job and is looking for bread. "I wish the gallery was a more popular arena, and the media would take our voices from the corridors and graveyards of unaddressed works of art to the streets."