A DOUBLE-SIDED DRAWING
A DOUBLE-SIDED DRAWING
Pencil and ink on paper
10 7/8 x 13 3/4 in. (27.5 x 35 cm.)
Pundole Art Gallery, Mumbai.
Originally purchased from the retrospective exhibition of the artist's works held at Jehangir Art Gallery, Mumbai, in 1991, to commemorate her first death anniversary.
Nasreen Mohamedi Waiting is a Part of Intense Living, The Metropolitan Museum of Art, New York, 18 March - 5 June, 2016.
Nasreen Mohamedi Waiting is a Part of Intense Living, Museo Nacional Centro de Arte Reina Sofia, Madrid, 22 September, 2015 - 11 January, 2016.
Nasreen in Retrospect, Jehangir Art Gallery, Mumbai, 9-15 May, 1991.
Nasreen Mohamedi Waiting is a Part of Intense Living, exhibition catalogue, Museo Nacional Centro de Arte Reina Sofia, Madrid, and, The Metropolitan Museum of Art, New York, 2016, p. 321, illustrated.
After studying art at St. Martin's School of Art in London, Nasreen returned to Mumbai, the city of her childhood, in 1958. A fortuitous meeting with Madhuri Desai and her husband of the prestigious Bhulabhai Desai Institute secured her a studio space at the artistic hub of the time. Here, she met most of the group now referred to as the Indian Modernists, including M.F. Husain, Krishen Khanna, Tyeb Mehta and Bal Chhabda. She found a mentor in Vasudev Gaitonde, and a friend in Jeram Patel, with whom she would work closely through the 1970s and 1980s when they were both at the Faculty of Fine Arts in Baroda.
Even though she spent time with these artists, Nasreen carved out a unique artistic path for herself that was based entirely on the non-representational. Furthermore, there was a deliberate lack of specificity in her work, including a lack of signatures, orientations and mediums, that heightened their feeling of abstraction. It was in the 1970s, that she began using precision instruments as an aid in her works, making the move to a 'pristine geometry' that is seen in her drawings from then onwards. The current work and the following lot probably belong to a later phase in her career, when she had stopped using a grid as the framework for the composition, but only used part of the paper, leaving plenty of empty space which was equally important to the balance of the work. The ink in these works is also lighter than the early grids, with several light lines, some almost imperceptible.
A diary entry from 1980 reflects this evolution to starker and purer forms. 'One day all will become functional and hence good design. Then there will be no waste. We will then understand basics. It will take time. But then we get the opportunity for pure patience.' (Nasreen Mohamedi, diary excerpt, reprinted in Nasreen in Retrospect, Mumbai, 1995, p. 97)
About The Artist:
NASREEN MOHAMEDI (1937-1990)