Martin's workalongside "people, reading of Mohamedi's grass, Kapur's Geeta aslittlerectangles..."'o but workasbeingnotaboutnature, of Martin's herdescription paintings especially is persuasive, ." nature of beingbefore theexperience partsof the world fromverydifferent It is compelling to thinkabouthowthesetwo artists "plane following simiandawareness," a of attention the useof lineto create mayhaveshared Butthetwo mode. non-representational of nature to a purely abstraction larpathsfroma lyrical to the theirrelation of theirartisticmission, underpinning in the fundamental artistsdiverge use gridsandhorizontal linesandhersensuous atemporal hand-drawn signature real.Martin's "classicist" Heratmospheric space.'' or to reach a morethanperfect to create, of coloraremeans of something paintings, amountto a turnawayfromtheworld,a representation in otherwords, understood the realandthesocial, Mohamedi embraced there."In contrast, that isn'tpossible Rather thansimply the megalopolis. counterpart, andasitsartificial environment bothasnatural oftenfoundherplace Mohamedi likeKihimor Bahrain, in a quietserene refuge or solitude seeking 1970. Hermoveto Bombay in from Delhi, moving there gravitating center of the chaotic towards self representaof-traditional of-evenrenunciation to hertransformation Delhiseemed to correspond productive. lt was most place to have been where she appears the inspiration, it a site of tion; became that imposed by the teemingdensityof a majormetropolis, overload here,amidthe sensory reading of following Martin Jay's called, what might be as well as found silence drawings Mohamedi's priorto herabsorbing thechaos around Inotherwords, of thesenses. Bergson, an"equiprimordality"'o presence perceive in time. her to - 1e88 to understand, and experience her senses Mohamedi used all her, Windbreok Lorgeshodowbelow Multiple
of theworldaroundher,theydo not withthethickactivity engage drawings Butif Mohamedi's asa referent aspect of thecity,somuchastheyserve nature, or a particular represent or render 5peed grid paper notationVibrotions. graph as a continuous or the of her literal use we of time.Might contemplate Multiple of an lntensityof sweep aslineartraces drawings Mohamedi's to perceive isn'tit possible of time?In otherwords, bodyin and Unduloting... of herdisplaced a reanimation cycleof natureandmodernity; imperfect on-going endured time? landscape, through Curve a changing through
comins toono, stowly ForMohamedi,life was not a matterof time, but of duration,a 'i..timeof the livedbodyand Curve porks bodyshouldbe invisiblypresentin Silence in ocoustic oosrs As Kapurwrites,'i..thatIMohamedi's] subjectiveexperience."'' greatest control of the stress a under the feat...maintaining situotions. virtuoso Different a map of a few linesis a roods, that the debi l i tati ng N ew a determi nati on u nderscore s t r a i g h tl i n e sc, a re fu l l yc o m p o s e d, hand. . . " , ' Her Troffi i stonds" c m us c lec ondit io nth a t a ffl i c te dh e r i n h e r l a te ry earsnot confi neor l i mi t her capaci tyfor dai l y B otconi es, lif e.M oham edi 'lsi n e w a s n o t me re l ya fo rm a le l ementto be usedi n her draw i ngsas a poi nt i n /eroces al l the d fthreadthat connected m ot ionor a s eri e so f a d j a c e n pt o i n ts i,t w a sa l i fe-enhanci ng si mi l arto her f er entpar t sof h e r l i fe .C o l o rfu lro w so f u n i fo rmhori zontall i nesand di agonal s, permeate the w ri ttenl andscape dr awingsand r e mi n i s c e notf re c e n tp a i n ti n g sb y Li ndaB esemer, ' 1 9 7 0 s , out enti reentri esof her di ary s hebegancrossi ng i n th e of M oham edi'dsi a ri e sB. e g i n n i n g yel l ow pen W hatthe l i nessi gni w i th a th i c kb l u e ,b ro w n ,a n d and dailys c hed u l e [i nsi decovers]. andthoughtscenacti vi ti es bu n her dai l yrecorded , t th e i rc o n n e c ti o to f y r em ainsindete rm i n a te for Mohamedi the , useof the l i ne that t er ingon her ac ti n gb o d ymo v i n gth ro u g hs p a c esuggests draw i ngs,photographs, was s v nes t heti c a lilny te rtw i n e dw i th h e r o th e r arti sti cendeavors-her 17thJul y sounds. andrecorded imper- Wotching the electricions topping the thecity's capturing witha taperecorder, of dailyaction thesounds Herhabitof recording withthe wires-stroinsbetween concentrotionond fascination Mohamedi's quirksanduncanny returns, underlines fections, its unexpected donger-hung on o rope.18 lt is temptingto activities of urbanspacein the lateryearsof herlife.'e metropolis, the everyday at the experience aswellashersubjective andimpactof thesesounds, thatthevibrations speculate