For a long of time, Behjat Sadr adopted a style that was pretty much based on splashing paint on the canvas, then scrubbing it off, so a major part of the work would be created during the scrubbing rather than the splashing phase. She would splash thick paint on a canvas or aluminum sheets and spear it with a putty knife or a similar tool to achieve her desired abstract form. Skillful nimble hand movements revealed negative forms and textures on the canvas before the paint got dry. Soft skillful application of putty knife would enable her to create thick lines and wavy surfaces that created an absolutely modern romantic abstract painting through recurring sweeps.
The evolution of color and composition in the work of Sadr follows a sustainable order and relies on a modernist mentality. The application of wood, aluminum sheets, or drapes, as a background, indicates Sadr’s obsession with an unconventional background.
The cold black color which is the usual color in her paintings is in contrast with the yellow lines and everything assumes a different meaning. Unlike many artists of her generation, i.e. the first generation of Iranian avant-garde artists, Sadr did not attempt to make her work appear indigenous, hence her art is often affiliated with Abstract Expressionism