拍品 16 PROPERTY FROM A PRIVATE COLLECTION, MUMBAI
Nasreen Mohamedi (1937-1990)
Untitled
已結束2009年6月10日
成交價
GBP 17,500
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專家說明
December 1st 1966, Jaisalmer:
Dry space - sand
Bare shrubs forcing existence
[...]
Arid - richness almost complete
Coarse, black cracks -
Dust, skinlike earth
Coarse sounds, filigree against sky [...]
(NASREEN IN RETROSPECT, Ashraf Mohamedi Trust, Bombay, p. 86)
Nasreen Mohamedi's diary entries from around the time that these works were executed allow the viewer a very personal insight into the thought processes that motivated the artist to execute these complex works. Whilst a precursor to the austere geometric paperworks of the mid-1970s and onwards, her works of the mid-1960s are an equally critical, yet often under-estimated, part of her oeuvre. This period saw Nasreen creating works of great vitality: we are presented with landscapes that are almost blown apart by quick daubs of ink and use of wash technique. There is an undeniable debt owed in this period to her training at Central St. Martins, London, and to her interaction there with the British artist Peter De Francia.
(Text by Mortimer Chatterjee)
Dry space - sand
Bare shrubs forcing existence
[...]
Arid - richness almost complete
Coarse, black cracks -
Dust, skinlike earth
Coarse sounds, filigree against sky [...]
(NASREEN IN RETROSPECT, Ashraf Mohamedi Trust, Bombay, p. 86)
Nasreen Mohamedi's diary entries from around the time that these works were executed allow the viewer a very personal insight into the thought processes that motivated the artist to execute these complex works. Whilst a precursor to the austere geometric paperworks of the mid-1970s and onwards, her works of the mid-1960s are an equally critical, yet often under-estimated, part of her oeuvre. This period saw Nasreen creating works of great vitality: we are presented with landscapes that are almost blown apart by quick daubs of ink and use of wash technique. There is an undeniable debt owed in this period to her training at Central St. Martins, London, and to her interaction there with the British artist Peter De Francia.
(Text by Mortimer Chatterjee)