Important Notice

On viewing Nasreen Mohamedi's spare drawings, one is struck by the artist's repudiation of the representational aesthetic that dominated the work of her contemporaries. The frugal, enigmatic lines of these works represent the acme of her abstract idiom, rooted in the work of artists like Kandinsky that she encountered while studying in London and Paris.

Speaking about these works, Geeta Kapur notes, "Nasreen's drawings raise the... On viewing Nasreen Mohamedi's spare drawings, one is struck by the artist's repudiation of the representational aesthetic that dominated the work of her contemporaries. The frugal, enigmatic lines of these works represent the acme of her abstract idiom, rooted in the work of artists like Kandinsky that she encountered while studying in London and Paris.

Speaking about these works, Geeta Kapur notes, "Nasreen's drawings raise the question of perspective in several different ways. Perspective as a ubiquitous premise of thought; and the vanishing point as the flip-face of imagist art that is mostly representational and anthropomorphic and full of object presence, blocking the horizon by foregrounded bodies. Here, in Nasreen's drawings, all is distance. There is nothing waiting at the end of the perspectival trajectory, no encounter at the vanishing point. Displaced through percussive shifts of the receding target, the vanishing point stretches both terrain and memory" ("Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937-1990" Nasreen in Retrospect, Ashraf Mohamedi Trust, Mumbai, 1995, p. 17).

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