Nafiseh Sedighi is known for her large-scale designs of trunks, branches, and twisted and intertwined roots of trees, Designs that have an expressive tone. Sedighi was born in Isfahan. In 2004, she participated in the 4th Isfahan Painting Biennale. A year later, she received her bachelor's degree in painting from Isfahan Art University. After a gap of several years, she studied painting at Al-Zahra University in Tehran and graduated from this university in 2009 with a master's degree. In 2006, she exhibited her works for the first time in a group exhibition at Saba cultural center, Tehran. After several group exhibitions and collaborations with galleries such as Haftsamar, Kamaloddin Behzad, B.Art, Dastan, etc., her first solo exhibition was held in 2017 at Tehran Assar Gallery under the title "Perception." In 2018, her works were displayed in the "Iran-40" group exhibition at the Plazzo Bastogi Museum in Florence, Italy.

After the scattered experiences of painting, Sedighi finally returned to pencil and paper in 2013 and dedicated herself to design. As she says in an interview about her comfort with design and considers this medium more appropriate to her artistic mentality and spirit. Although her drawings are representational, they are created based on natural patterns that have settled and established in the artist's mind. These characters are a way to express her feelings: "People have many complexities in life, and they have feelings and emotions such as anger, sadness, protest, etc. Maybe someone who sees my works will not notice such feelings, but for me, all these feelings are evoked; in fact, I work to free myself from these feelings." In these designs, we are faced with plant organs that branch out from each other, interweave and conquer the entire frame. Sub-forms expand from the heart of several central branches and continue to the limit of abstraction to change from an objective appearance to an utterly sensory appearance. This way of developing plant forms is somewhat reminiscent of Abolghasem Saeedi's paintings, with the main difference that unlike the happy, lyrical, and decorative tone of Saeedi's trees, Sedighi's trees have a bitter and stinging expression due to the use of black and gray spectrum and exaggerated linear forms. The final texture made from the basis of the plant organ has no ornamental aspect at all, and the ratio of the components of this texture to each other and the intensity and weakness of its linear qualities give an alternative to the artist's emotions.