Untitled 1974

This untitled work by Behjat Sadr is made with paint, probably oil or acrylic, and it feels like a record of a performance. A repetitive, almost obsessive act, like raking sand in a Zen garden. The paint is scraped or dragged across the surface, creating these undulating lines that build into layers. It’s dark, almost monochromatic, but within that limited palette there's a surprising range of tones. Look at how the light catches the raised edges of the paint, suggesting a topography, like waves or a mountain range seen from above. There is a gestural quality to the mark making which emphasises the painting's surface. The regular interruptions, or negative spaces in the painting function as a visual rest. Sadr's work has similarities with that of Yayoi Kusama. Both artists use repetition as a means to explore ideas around space and form. It's a process of continuous addition, accumulation, and transformation. It’s less about the final image and more about the journey.