Untitled 1963

Curator: Looking at this mixed media work from 1963, an untitled piece by Nasreen Mohamedi, I am struck by its somber and quite frankly, stark presence. Editor: There's a beautiful austerity to it, yes. I'm immediately drawn to the textures; the almost hesitant application of paint contrasted with bold geometric forms makes me wonder about Mohamedi's process here. Curator: The interplay of shapes is undeniably its core. The triangles and fragmented planes seem to hover and interact in a very controlled space. The limited palette almost enforces a rigorous reading. Editor: Precisely. And when considering her chosen materials – the specific paints, their density, how they are layered—doesn't that choice influence our perception of form? I find myself wondering about the pigments she used. Were they readily available, or were they custom mixed, and what does that mean for her art making in this context? Curator: Undoubtedly, there's intent at every stage. But think of how these decisions underscore her interest in pure form and line; the materials only serve this greater vision. Editor: I see the materials as far from subservient. To me they suggest the time, labour and even cultural conditions that enable its creation. Also consider that mixed-media of this sort pushes beyond traditional "painting" to integrate varied methods of production that should broaden its formal reading. Curator: Even without knowing exactly the production methods, you can admire how these fragmented geometrical forms speak in conversation. Editor: But doesn't Mohamedi's blending of various painting applications also echo contemporary life itself – fractured, reconfigured? The availability and application of these very materials also impacts its accessibility. Curator: Ultimately it speaks to how the structure dictates the language of seeing. Editor: Yet isn't our way of "seeing" impacted by those structures too, especially those economic and social realities that inform not only its materiality but audience? I wonder if we will ever unravel all these layers. Curator: Well, regardless, it’s clearly a vital piece, inviting continuous reassessment. Editor: Indeed, a constant negotiation, reminding us to stay aware of the processes surrounding how and why we make.