Farideh Lashai is an Iranian painter, videographer and writer known for her lyrical screens of nature. At the age of ten, Lashaei learned painting from Jafar Petgar. After graduating from a translation school in Munich, he moved to Austria and continued her education at the Vienna Academy of Decorative Arts. The result of this period and her work experiences in crystal design were displayed in an exhibition in Milan in 1967.

Lashai returned to Iran in 1972 and a year later she exhibited her paintings for the first time in Seyhoun Gallery. Since then, she has had numerous exhibitions in Iran, Germany, the United States and other countries. She also translated some works such as Bertolt Brecht's “Nick Sechuan's wife” and Edita Morris's “Hiroshima Flowers” into Persian. She also depicted her life in the form of a novel-autobiography called “shawl ba moo”. Lashaei co-founded the Dena Group with prominent artists such as Gizella Varga Sinai and Farah Osuli. A group of Iranian women artists, which was established in 2001 with the aim of presenting their works independently, and during its six-year activity, exhibited the works of many Iranian women artists in the country and in the international arena. Farideh Lashai's first appearance in the auctions dates back to February 2007 at Christie's Auction.

Nature is the dominant element of Lashai’s paintings. She uses loose lines, rhythmic curves and wide color spots to bring a lyrical expression of nature. She talks about the constant presence of nature in her works in an interview with Ahmad Reza Dalvand: "Nature has had and still has an extraordinary attraction for me, not as a category unrelated to me and outside of me, but nature in relation to human inner struggles and as an answers to emotional conflicts and questions - perhaps ontological ones. Lashai, however, uses this oriental view in the form of a new expression mixed with social sensitivity. She does not merely reveal the soul of nature and record its abstracts, but symbolically incorporates her social positions and feelings into these natural revelations, which lead to the creation of bitter and dark images of nature. These social and political concerns of Lashai, which are reflected in some of her paintings, animations and arrangements, were the result of breathing the air of Munich's artistic circles. Mojabi writes about the human face of nature in Lashai's works: "Nature is not just a tree, a flower and a mountain for her, it is the surrounding universe that is interpreted by human presence and in dealing with it."