Monir returned to Tehran in 2004, where she dedicated the last two decades of her life to intensive bouts of creation. Monir steadily generated precise and brightly colored felt-tip-marker and...
Monir returned to Tehran in 2004, where she dedicated the last two decades of her life to intensive bouts of creation. Monir steadily generated precise and brightly colored felt-tip-marker and colored-pencil line drawings, rendering rhythmic spatial planes composed of interlocking geometric patterns in varying configurations. In several drawings from this period, lines and swaths of color intersect to generate abstract floral patterning. By referencing organic forms, like the flower, these drawings highlight the relationship between geometry and the real as well as geometry and nature, cementing her belief that “everything is in geometry.”
In the drawing "Untitled", 2016, her prized hexagon anchors the composition of expansive geometric florals, holding together blue and yellow petal-like arrangements.