Untitled 

Editor: So, here we have an "Untitled" drawing by Nasreen Mohamedi. It's done in graphite on paper and the arrangement of geometric forms makes me feel like I'm looking at blueprints. I am really drawn in. What’s your read on it? Curator: Blueprints, yes! Or perhaps a minimalist cityscape viewed from a dizzying angle. Nasreen Mohamedi had this incredible way of taking the hard-edged language of constructivism and imbuing it with a profound sense of meditative calm. Do you get a sense of quietude looking at this? It's as if she’s mapping an inner landscape. Editor: Absolutely! Despite the rigid lines, there's a strange serenity. It's almost like a visual mantra, like those geometric Tibetan sand paintings that get ritually destroyed, if you know them. Curator: That's beautifully put! The impermanence echoes even in the delicate, almost faded quality of the graphite. And the very faint shadows give such depth that suggests multiple layers and even endless possibilities. Have you seen other work of hers? She continued to evolve this style over the years, so much that it makes one wonder if all of existence could fit into line and paper. Editor: Only in books, mostly. To stand in front of a physical piece does something different, for sure. Especially when knowing that even “non-figurative” is somehow deeply human, and filled with emotion, intention. Curator: Indeed! Her works are diaries, poems. Silent declarations. The longer you gaze, the louder they become, don't you find? Editor: Definitely food for thought, thank you for this deep dive into something so outwardly simple. I think I understand it better now.