She adds voice to her portraits by including calligraphy on the images, one of the calligraphy is a poem by feminist contemporary Iranian poet. Farrokhzad was one of the renowned Iran female poets whose work enticed Neshat to include in her paintings. Artistically works and poems were the main channels the Muslim women could use in revolution against their frustrations with the social and cultural restrictions. Following Iranian unveiling in 1936 the Irans women bodies were unveiled, subsequently female poets and artists like Neshat started revealing their thoughts, emotions and desire (Meskimmon, 2012). Neshat portrays Iranian women determination in executing their mission by the picture of her self-cladding in a black chador with her rifle aiming at the viewer. This portrait is unlike the others that do not direct their weapons at the audience the black veil leaves only the upper part of her face visible.
Neshat grew up in an era before the Islamic revolution when Shahs government was trying to promote secular culture. She employs the art of photography in self-expression when she displays the characteristics of Iranian society culture and traditions. All the images covered in the women of Allah illustrate the theme of bound restriction, silence, old-fashioned and the violent Muslim women (Sheybani, 1999). Historically Islam religion and believes hold it that a womans body is a battleground for several kinds of rhetoric and political ideology. Neshat uses photography in exploring the relation between a Muslim woman and the positions that she inhabits. The traditional arrangements of the western democratic society were making efforts in eliminating difference and boundaries, comparatively contrary to Islamic culture where Islamic men and women holding different spaces are meant to come together to create a cohesive unit.