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Lot Essay
For South African artist William Kentridge, encountering Nasreen Mohamedi's work was a revelation. "It's utterly different to the kind of work I can imagine doing, but it's also utterly different to the kind of work that was being made in India in the 1960s and 1970s. I was more familiar with the figurative Indian tradition. I hadn't expected to see work like that there at all. It was wonderful to find elements there of a language I understand."
"As much as her work would like to be Zen, there's a sense of very discreet theatricality that comes through, particularly in her black-and-white photographs. To me the photographs suggest sketches for a space in which a drama could happen, while the small drawings could also be a set for a dance performance. I have no idea if this is what she was intending. These are just a set of associations that the work sets off." (Carol Kino, 'William Kentridge on the Subtle Drama of the Indian Minimalist Nasreen Mohamedi', The New York Times Style Magazine Blog, 11 October 2013, accessed 29 October 2013)
"As much as her work would like to be Zen, there's a sense of very discreet theatricality that comes through, particularly in her black-and-white photographs. To me the photographs suggest sketches for a space in which a drama could happen, while the small drawings could also be a set for a dance performance. I have no idea if this is what she was intending. These are just a set of associations that the work sets off." (Carol Kino, 'William Kentridge on the Subtle Drama of the Indian Minimalist Nasreen Mohamedi', The New York Times Style Magazine Blog, 11 October 2013, accessed 29 October 2013)