Monir Shahroudy Farmanfarmaian, Something Old Something New 1974 © Estate of Monir Shahroudy Farmanfarmaian (left). Saloua Raouda Choucair, Poem Wall 1963–5 © Saloua Raouda Choucair Foundation (right)
12 rooms in In the Studio
Mathematical and mystical principles inspired the geometrical abstract work of the artists in this display
There are endless possibilities when you see the geometry in nature and your environment
Monir Farmanfarmaian
This display brings together artists whose transnational modes of living and working allowed them to develop unique languages of geometric abstraction. Travelling extensively or living in different places, their work is inspired by diverse references.
Some people view geometric, particularly Islamic, patterning as purely decorative. The works shown here challenge this perspective, suggesting a deep engagement with geometric principles.
The artists share an interest in early mathematical practices and the geometry found in natural forms. Several of the artworks are also inspired by Sufism, a mystical branch of Islam. In particular, they focus on ideas of infinity and interconnectedness. The repetitive and modular structure of poetry is important, as well as historic and modernist architecture.
Many of the artworks in this display evoke movement across their surface and the surrounding space. For example, Farmanfarmaian’s mirrored Pentagon and Arif Quadri’s Landscape of Longing create a sense of endlessly shifting perspectives. The multifaceted mirrors in Pentagonplayfully reflect the viewer’s image and the space around them.
In Choucair’s Poem Wall and Nahas’ Eclypse, the interlocking elements support each other in a delicate balance. Choucair created Poem Wall in Beirut. Its block forms suggest a cityscape, creating a buzzing energy between its lines. Eclypse depicts a growing web of interwoven shapes along different planes of light and colour.
This display is part of Tate Modern's Collection Route
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Monir Shahroudy Farmanfarmaian, Something Old Something New 1974
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artworks in Infinite Geometry
Rasheed Araeen, 3Y 3B 1969
3Y 3B is a large, horizontally oriented painted wooden sculpture by the British-Pakistani artist Rasheed Araeen. The work is composed of six rectangular wooden lattice framework structures, three painted yellow and the other three blue, which are arranged vertically and screwed onto a sheet of hardboard. The hardboard is painted and divided into two halves – the left side, on which the three yellow lattice structures are mounted, is painted blue, and the right side, onto which the three blue framework structures are affixed, is painted yellow. The sculpture hangs from the wall by a series of mirror plates attached to its reverse.
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artworks in Infinite Geometry
Saleem Arif Quadri, Landscape of Longing 1997–9
Landscape of Longing refers to Arif Quadri’s interest in spiritual quests and journeys. It evokes a map seen from above. Arif Quadri describes the work as ‘a celebration of life with all its inexplicable mysteries’. He relates the painted forms to the sinuous strokes of Islamic calligraphy. The shapes between and around each form are important to the artist. They suggest figurative elements such as female and male figures, or pods and birds. Arif Quadri is influenced by texts ranging from Sufi writings to work by Dante, the 13th century Italian poet.
Gallery label, June 2021
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artworks in Infinite Geometry
Shirazeh Houshiary, [no title] 1992
These images are made from the layering of words inspired by texts by 13th century Sufi poet Jalal al-Din Rumi. Houshiary has said that the repeated words represent the act of breathing. For her, inhalation and exhalation through the lungs gives a feeling of absence and presence. The prints reveal language as a living organism. The repeated round forms convey a spinning movement, reinforced by the title ‘Round Dance’. For Houshiary, these centrifugal, whirling forces are present in all nature. Round Dance connects culture to nature, and words to biology.
Gallery label, April 2021
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artworks in Infinite Geometry
Shirazeh Houshiary, [no title] 1992
These images are made from the layering of words inspired by texts by 13th century Sufi poet Jalal al-Din Rumi. Houshiary has said that the repeated words represent the act of breathing. For her, inhalation and exhalation through the lungs gives a feeling of absence and presence. The prints reveal language as a living organism. The repeated round forms convey a spinning movement, reinforced by the title ‘Round Dance’. For Houshiary, these centrifugal, whirling forces are present in all nature. Round Dance connects culture to nature, and words to biology.
Gallery label, April 2021
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artworks in Infinite Geometry
Shirazeh Houshiary, [no title] 1992
These images are made from the layering of words inspired by texts by 13th century Sufi poet Jalal al-Din Rumi. Houshiary has said that the repeated words represent the act of breathing. For her, inhalation and exhalation through the lungs gives a feeling of absence and presence. The prints reveal language as a living organism. The repeated round forms convey a spinning movement, reinforced by the title ‘Round Dance’. For Houshiary, these centrifugal, whirling forces are present in all nature. Round Dance connects culture to nature, and words to biology.
Gallery label, June 2021
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artworks in Infinite Geometry
Saloua Raouda Choucair, Poem Wall 1963–5
From the early 1960s Choucair created sculptures consisting of interlocking pieces. She was inspired by qasida, a modular form of Arabic poetry. Individual stanzas have their own identity, while still contributing to the unity of the whole poem. Choucair thought of her works as ‘sculptural poems’. She explained: ‘I wanted rhythm like the poetic meter, to be at once more independent and interlinked, and to have lines like meanings, but plastic meanings.’ Informed by theories of quantum physics and Islamic theology, her works invite the viewer to imagine alternative compositions. These are suggested by the visible points of intersection between separate sculptural forms.
Gallery label, November 2021
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artworks in Infinite Geometry
Nabil Nahas, Eclypse 1978
Eclypse signals Nahas' interest in abstraction and its relationship to principles of geometric patterning such as infinite repetition and cyclical movement. The artist was inspired by naturally occurring crystalline structures, as well as medieval buildings and textile designs from Cairo, Egypt. He has said "my work is about observing nature in the multiplicity of its dimensions, from microcosm to macrocosm—without forgetting to look at my immediate surroundings." Nahas’ paintings from this period are filled with multi-coloured shapes and arrangements along different planes. They might suggest the intersection of celestial bodies, or the passing of light into shadow.
Gallery label, November 2021
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artworks in Infinite Geometry
Art in this room