In the video and the drawings that form part of Maskhara, Khebrehzadeh’s focus on the notion of the mask is in essence a study of conditions, behaviours or gestures through which the individual either conceals the true self or projects an alternative self. Apart from physical masks and facial ornaments, the notion of the mask is extended to explore the workings of facial expressions as layered, intentional and conscious means of communication that guard, distort or screen true emotions. 

Furthermore, the etymological root of the English word mask is curiously uncertain. It is linguistically attributed to various Indo-European and/or Semitic words. These range from masca (Latin meaning mask, spectre or nightmare) and mascurer (Old French via Provencal mascarar to mean to blacken the face) to masecha (Hebrew for mask) and maskhara (Arabic for buffoonery or ridicule). Khebrehzadeh exploits this speculative and ambiguous etymology to produce various portraits and guises.