Hero is known from the very infinite, harmonic rhythms and characters she uses in her paintings, which are accompanied by musical forms, colors and spaces. She portraits the environment, climate and culture of the ‘Kurdish’ people in her works, where she is coming from.
Her works predominantly convey a sense of a series of seamless, rapturous motions. Geometrically speaking, the ever-moving figures seem to be inclined toward a wide variety of circular patterns. One feels all things are circular, as if you are tracing the circle of being, with women – who are symbols of nature, birth and creation – dancing round in a ring in continuous turns. A complex, multi-interpretable net of conceptualization is created: the ultimate, overwhelming feeling is that of restlessness, expressed through and symbolized by lines which are circular in both visual and semantic terms. The body is hidden, in these paintings, under colors and ethnic symbols: as in reality, too, the female body is absent. Hence a dichotomy between body and color, manipulated to achieve a visual semiotics with sociological overtones. The major blurring of countenance and body tunnels toward the discourses of alterity on the expression of the female. Women leave their faces in perpetual motions and demonstrate their presence through colors. It is as though the eternal sound of music has metamorphosed them in a way that they have lost their voices and sights; there remains only the dance - the rapturous essence of the (re)birth of the inner self. Nevertheless, the metamorphosis also recalls the habitualization of absence. It is a controversy acting as a harsh prod, of which the artist relentlessly reminds the addressee.