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You may send this item to up to five recipients. The name field is required. Please enter your name. One next encoun- tered the carefully laid mostly straight lines that marked the surface of square and later rectangular sheets of paper, and inally, some of her late works that were often made in series and on a smaller scale.
It became clear that from her very earliest years as a practising artist, Mohamedi was drawn to abstraction—the vegetal forms in her watercolours on paper were quick- ly distilled to sinewy lines that fanned out, latticed and described elemental shapes in the in-between spaces igure 3.
In her move towards rigorous pictorial abstraction that dovetailed with her interest in philosophy, it was with V. Nasreen Mohamedi, Untitled, c. Ink and graphite on graph paper; Ink and graphite on paper; Private collection. Courtesy Talwar Gallery. Drawn with the aid of drafting instruments, her lines have a trajectile impulse and are rightly read as vectors.
Her lines—parallel, angled, dashed—stretched tautly across the surface and animated the linear interstices on square sheets of paper in two sizes. In the chronological unfolding of her oeuvre, Mohamedi demonstrated direction- al turns rather than radical breaks in her approach to the picture plane, and by the late s, she moved towards a more expansive rectangular format.
Mohamedi built geometric forms by the deliber- ate and reverberating hatching of lines, which were sometimes startling in their den- sity and at other times sublime in their subtlety.
Pianist Iyer and the trumpeter Wadada Leo Smith would go on to compose a suite of works in homage to Mohamedi, in an album titled a cosmic rhythm with each stroke. Her lines remained deliberate and deter- mined but newly described subtler forms—the chevron persisted but was joined by curves and ellipses.
From the mids onwards, she had ex- plored the possibilities of photography as a medium. Drawn equally to the striking ge- ometry of built forms and to the intricacy of natural phenomena, her images focused on shapes, textures, shadows, planes and tonal variations. Culler, Jonathan. Jane E. Ithaca: Cornell University Press, Narrative Discourse: An Essay in Method.
Narrative Discourse Revisited. Greimas, Algirdas Julien. Paul J. Perron and Frank H.
Minneapolis: University of Minnesota Press, Kermode, Frank. Oxford: Oxford University Press, Anna Bostock. Cambridge: MIT Press, Propp, Vladimir. Louis A.