Behnam Kamrani has not only been active in various artistic fields such as painting, video art, curation, mask design, costume design, and stage design, but he has also pursued academic studies up to the doctoral level and is a faculty member at the University of Art.

Behnam Kamrani was born in (1968) in Shiraz, and as he has mentioned in several interviews, the artistic atmosphere in this city has had a significant influence on his work. Growing up in an environment where his mother painted, he developed an interest in art and began painting from a young age. Alongside that, studying with artists and mentors such as "Royaii," "Darisi," "Atrevesh," and "Abreshami" led him to become more seriously engaged in visual arts and crafts to the extent that despite being a student in  the medical field at Shiraz University, he eventually abandoned it in favor of pursuing art. Behnam Kamrani came to Tehran to start his bachelor's degree in painting at Tehran University's Faculty of Fine Arts.He then went on to receive a master's degree in painting from the University of Art; where he also completed his PhD and became a faculty member.

Of course, his academic journey did not deter him from creating artistic works. As he says in a short documentary published by "Harf Honar - Documentary Studio: "I have even worked with my mobile phone. When I was in university class and couldn't work with the concentration and expansiveness that painting requires, I would do small sketches on my phone and email them to my printer." The result of these works was displayed in the "Fire in..." exhibition at the "An" gallery in 2013.

Behnam Kamrani's work periods are different and diverse, and his visual world is derived from the culture of the East and the West. Kamrani himself, in the same documentary mentioned earlier, has spoken about the initial periods of his work: "The initial periods of my work are very influenced by the atmosphere of Iranian painting. Even though I do not replicate this atmosphere, I have been very interested in its introspective and intellectual aspects."

Later his work involved researching the clothing of the Safavid and Qajar periods, accompanied by their mystical and literary concepts , which he stated coincided with the "chain murders". The cutting of the clothes served as inspiration for the forms and shapes of his works, and without portraying any figures, he presented the presence of poets or writers who existed in the historical context of Iran in a different way. 

The collection of these works was exhibited in the "Mythical Clothes" exhibition at the "Barg Gallery" in 2000. These works also found another destiny. Kamrani stated in an interview with "Honar Online" that these works started with painting and evolved into arranging burnt and painted clothes. He photographed these clothes and brought them into the digital space. The result was a light box that was displayed in the "New Art" exhibition in 2002 at the Museum of Contemporary Arts.

Kamrani, who was selected for the first International Contemporary Design Exhibition at the Tehran Museum of Contemporary Art in 1999 and received an honorary diploma from the Paris Triennial in 2006, ventured into the use of elements of miniature in his subsequent works. 

Furthermore, in his continued activities, he created his first video titled “Clothes for Gabriel” which he exhibited alongside installations and paintings at the "A Garment for Us - A Garment for Gabriel" exhibition in 2006 at the Khak Gallery.

part of the diversity in the form and content of Kamrani's works is derived from the changes reflected from Iranian society; a society that has always been in a state of shedding its skin and undergoing transformation. In a conversation with "Medrick Talks" he has stated that as time has progressed, his focus has increasingly turned towards cultural concepts and everyday life. Kamrani describes the reason for this as a shift from the idealism and symbolism at the beginning of the revolution towards aspects of daily life. The crystallization of this trend can be seen in the collection "Majnoon Among Animals." For example, when the character of Majnoon transforms from a historical figure into a modern person.

The author of the book "The Painting Workshop” displayed another collection titled "Traveling Iran on banknote" at the "An" gallery in 2010, two years after exhibiting the "Plants" collection at the "Azad Art" gallery in 2008. In this collection, he used landscape images on the back of the banknotes and appeared more as an illustrator. In the later periods, Kamrani got closer to social themes and photography, and used cultural icons such as Charlie Chaplin andBruce Lee" in his works . This collection was exhibited under the title "Where It Doesn't Matter Where!" in the An gallery in 2014.

During these years, Kamrani also experimented with other artistic fields, including curating the biennial in Shanghai and exhibitions in galleries such as "An," "Mohsen," "Shirin," "Iran Shahr," "Vista," and "Vasal Shirazi." Additionally, he has been involved in designing masks, costumes, and sets for collections such as "Golakhand," "Kadu Kitchen," and "One Thousand and One Nights."

In the following period, Kamrani ventured into painting on photographs and family albums. He described these albums as "private documents" that have been "made public." According to him, since family photos are taken by non-professional individuals, they possess a certain atmosphere and ambiance that may not be felt in professional photographs. This aspect influences his reconstruction and adaptation.