Drawing was an integral throughline in Monir’s wide-ranging practice, providing a means for exercising spatial thinking through experimentation with geometric structure. Certain drawings or studies correspond to eventual three-dimensional, sculptural...
Drawing was an integral throughline in Monir’s wide-ranging practice, providing a means for exercising spatial thinking through experimentation with geometric structure. Certain drawings or studies correspond to eventual three-dimensional, sculptural applications of their forms, while others employ rhythmic patterning and calligraphic mark-making to create dimensional effects within the picture plane. Typically rendered in vivid hues of felt-tipped marker and colored pencil, Monir’s works on paper demonstrate her ability to cast fields of radiant, expressive energy from pared-down arrangements of line and form, through a process characterized by structural precision.
Monir Shahroudy Farmanfarmaian: Infinite Possibility. Mirror Works and Drawings, 1974–2014, Solomon R. Guggenheim Museum, New York, NY March 13-June 3, 2015 Mirror-works and Drawings (2004–2016), James Cohan Gallery, New York, NY, January 29 - March 6, 2021.
Publications
Karen Marta (Ed.), Monir Works on Paper, London: Koenig Books, 2015. p 85 Shiva Balaghi, Susan Cotter, Media Farzin (Eds.), Infinite Possibility: Mirror Works and Drawings 1974-2014, Porto: Fundacao de Serralves, 2014. p 119