Room 4: Floating Forms
In the late 1970s and early 1980s Mohamedi’s drawn constructions seemed to break free of the paper ‘ground’, becoming more removed from any representation of the external world and tending towards completely abstract designs. As these forms float off into the space of the white paper, the artist’s focus on edges, geometric shapes and balance remains, but without any reference to nature or architecture. Mohamedi used increasingly fewer lines and marks to create the images, writing in her diary of the desire to obtain ‘the maximum out of the minimum’. Articulating these abstract concepts using only minimal lines, these works convey a sense of purity and harmony that is universal, rather than being restricted by references to particular elements existing in the real world.