Etidorhpa captured Gold at the 2025 MUSE Creative Awards, applauded for redefining ritual narrative in VR and pushing experiential immersion into new artistic territory.

In Shargh’s widely read Visual Arts section, Rouhani praises The Other Side of Death for weaving VR, ritual sound and Persian symbolism into a contemplative encounter with mortality.

Ponomarenko’s in-depth Q&A explores Ebrahimi’s immersive practice, tracing how ritual, humour and VR collide in works such as Ooh La La! and Etidorhpa.

Lisa Gray’s in-depth Q&A traces Ebrahimi’s journey from Tehran to London, spotlighting Ooh La La! and his use of playful XR ritual to dismantle sexual taboos.

Visual Art Journal profiles Mostafa’s path from restrictive upbringing to XR innovator, showing how humor, ritual and craft fuse within Ooh La La! and Etidorhpa.

Boomer Gallery’s sixth Contemporary survey united global innovators; The Other Side of Death invited visitors to cross physical-virtual thresholds through a layered VR experience.

A ritualistic VR encounter where technology, silence and mourning merge…

The Holy Art’s Brooklyn edition gathered emerging creators worldwide; Etidorhpa invited visitors into a ritual-inspired VR space where body, silence and technology intertwine.

Celebrating ITW’s 10th anniversary, the IMPULSE programme spotlighted Ooh La La!, a cheeky VR theme-park that re-frames sex-toy taboos through humour, play and shared musical interaction.

Chaos and Hope gathers international artists who reclaim play and joy as engines for activism; Mostafa’s Ooh La LaVR works invite visitors into subversive, pleasure-centric worlds.

We are thrilled to announce that we won the Silver award in the “Smart and Connected” category at the prestigious PENTAWARDS 2024! 🇬🇧🍾

Honored to have been a panelist at LCC’s Futures Day, helping our graduates transition to the industry! 🌟

I’m thrilled to announce that “Ooh La La!” won the Best Immersive category, and “Etidorhpa” was a finalist in Creative XR Storytelling at Innovate UK Immersive Tech Network.