Kiomars Harpa is from the generation of painters who started his first experiences in painting before the revolution, during his teenage years. After the Cultural Revolution, he went to the Tehran University of Art in 1981, and after completing his studies at the end of the 80s, he seriously started working in the field of painting. He taught at universities. During his studies, he was trained under teachers such as Bahman Boroujeni, Mohammad Ebrahim Jafari, and Mehdi Hosseini.

Mehrnoosh Alimaddi writes in a note about Harpa's exhibition at Sareban Gallery: "People play the main role in Harpa's paintings. Emoticons and body parts of people that we can remember. Inducing pain and numbness in the faces and limbs of Harpa's paintings, such preparation is also prominent and noticeable. Even in the way of expression, he looks at examples that are indebted to such an attitude. Nothing other than the imaginative subjectification of man is involved in the introduction of his subjects. Whatever it is, the existence of a human being, individually or in a group, always makes him appear unique. But the search can be witnessed in the visualization of the painted persons. What prompts the viewer to identify the psychoanalytic dimensions of each. In cases where he uses multiple persons, he considers an index feature in the face to identify each. He is simply discovering and has brought people from the filter of imagination to the forefront. Has no representation; Exaggerations and distortions can be considered believable because the painter sees and visualizes in this way. Relationships have a visual function and seem to have experienced an emotional lightning strike. In the multitude of colors between people, only piercing and captivating eyes tell a story as if it should be analyzed and known. He is a master designer who has made his forms coherent. He did not neglect the colors and often used this expressive quality in combining bright colors. Its colors give more of a tangible effect of native geography and make such fantasized figures acceptable. The characters of Harpa's paintings, if they have an objective example, are modified by him. It's as if what has offended him has suppressed the blackness in a sad expression and deliberately turned the non-blackness into memories that are desirable to him." 

In explaining his artistic path in one of his exhibitions statement, Harpa borrows lines from the book Anxiety by Fernando Pessoa: "To be able to create, I destroyed myself, perhaps surrendered myself to myself, that I am in myself except in a form There is no outside. I have a living stage on which various actors appear and perform multiple plays."