Bijan Rafati is an Iranian painter, sculptor, and installer. He uses different media and techniques in creating his works. Therefore, he can be considered an interdisciplinary artist. Rafati's university education had nothing to do with Art, and he pursued this field out of personal interest and self-taught. After completing his bachelor's degree in economics at [Shaheed Beheshti] National University, he went to the United States of America to continue his studies and continued his economics course until his doctoral degree. After finishing his studies, he worked at the "Center for Advanced Studies in Energy and Population" and later at the "International Monetary Fund" and also taught part-time at Harvard University in Washington. He, who had been interested in Art since childhood, continued painting in a self-taught manner during his residency in the U.S. and had experiences in this field. He presented the results of this course of work in the form of several exhibitions in America. In 1981, he held his first exhibition at Howard University, and in 1988, he exhibited his works at James Gallery in the United States. His work at James Gallery was welcomed by critics, leading to new artistic achievements for Rafati. Rafati returned to Iran in 1989 and participated in two group exhibitions at the Tehran Museum of Contemporary Art. He held his first solo exhibition at Sepehri Gallery in Tehran a year later.

As mentioned, Rafati uses the potential of different media in his works. Paintings, collages, photographs, sculptures, and installations are used separately or in combination, depending on the concept that this artist is trying to express and convey. For this artist, the concept is more important than the form, and these arrangements are ultimately excuses for conveying ideas. In a conversation on the occasion of his solo exhibition at Sepehri Gallery, he says: "Art has been evaluated based on philosophical principles in every era, and various schools and their distinctive features have been identified. However, it is vital that in the technological age, the issue of expertise and the fatal risk of becoming redundant thought - for which man is called the best of creatures - places Art in a sensitive position, Especially after the two global disasters happened based on the technical and scientific revolution. On the one hand, protesting against the laws governing industrial societies (economic or moral), finding a city where one can forget mental distress, and on the other hand, submission to scientific empiricism and being influenced by the recognition of the relativity of thought and sensory stimuli clearly shaped the visual arts movement after the year 1945. which speaks to the artist's critical task in our critical age."