Kambiz Derambakhsh "is considered one of the most prominent contemporary satirists in Iran due to the delicacy of his thought and visual intelligence." He started his art education in the department of Tehran Boys' Fine Arts Conservatory. Soon after, as a teenager, he moved into the cartoon business, drawing cartoons for Etalaat and Black& White weekly. In 1963, he had a one-year trip to Germany. This trip paved the way for his understanding of the art of caricature to expand worldwide. After returning to Tofiq weekly, he joined and was a contributor to this popular and humorous magazine for seven years.

After the revolution, in 1981, he emigrated and remained in Germany for twenty years. "I felt sorry when he left Iran," writes Mohammad Ghaed, who worked with and befriended him in Ayandegan newspaper. I was happy that he is also a first-rate designer in the west. Now that he is back for permanent residence, I think it would be better for a simple and satisfied person like him to stay around. "His style, while sharp, in embodying the tumultuous environment of his community, can inspire artists and observers looking for contrasting regions in black comedy."

In addition to his prestige within the borders of Iran, his designs have been published in the pages of world-renowned publications such as Le Monde, The New York Times, Nabel Spalter, and West Deutsche Welle. His artworks are a treasure trove in world-renowned museums and art centers, such as the Avignon Museum in Paris, the Basel Cartoon Museum in Switzerland, the Gabrovo Cartoon Museum in Bulgaria, the Hiroshima Museum in Japan, the Yugoslav Anti-War Museum, the Istanbul Caricature Museum in Turkey, the Warsaw Caricature Museum in Poland, etc. Derambakhsh was the first Iranian visual artist to be awarded the Knight Medal by the French government in 2014 after many years of professional activity in cartoons. Until 2020, when he died of Covid-19 in Tehran, he was active in the field of comics and illustrations as an artist.

In his designs, Derambakhsh has a formal tendency to abstract. His summary of the representation of the human body and environmental elements goes so far that the line itself finds an independent identity in many designs and plays a central role in situations. His compositions, with the help of metaphorical visual metaphors, break the rigidness of the viewer's perceptual habits and open his mind to the horizons of poetic imagination. His poetic and humanistic designs have social and political concerns placed in the lower layers.

In a note entitled "The Black Comedies of the Quiet Man," written in honor of Bukhara Magazine, Ghaed refers to the dark side of his visual world: "His straightforward designs have been drawn with the utmost economy. Their dominant background is a typical environment that apparently has no subject to be presented. But if we look carefully, in the corner of this common space, behind a window similar to all the windows or at the dead end's bottom in front of us, a shadow moves that, if we pay close attention, makes our hair stand on end. It can be said that an extraordinary event is happening. If we look away from that particular subject, we can smile and mind our business. But we are tempted to see, for example, what happened to the man who cut the cat's neck while smiling. On one hand, we laugh at the stupidity of such a creature but on the other hand, we are terrified of his cruelty."