He disliked the idea of using kitsch in his art and was a purist in many ways, for example, the notion of popular media entering his own installations would not have appealed to him. He revelled in the sensation of painting; materiality was sensual and voluptuous for him. As an exception to the rule, two paintings consist of horizontal stripes with tubes protruding from them: the first has a pail attached to the end of it, and to the second is attached a bicycle pump. These are unusual installations for Imran Mir’s praxis, but if we observe closely, the emphasis lies significantly on the design value of the object. The installation centres the everyday experience of living in the modern world by incorporating ubiquitous objects. The pipe in the pail is reminiscent of zebra crossings on the street. The austere, parallel permutations and set of horizontal bands of colour are essential for his motivated impulses. It was a metropolitan and urban view of life, almost like the topography of New York’s skyline as seen from a bird’s eye view.

Persuasions in Liminal Spaces, Nafisa Rizvi, 2022