Imran Mir, Untitled (Second Paper on Modern Art), 1978-2011

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Acrylic on canvas, metal pipe, rubber pipe, metal pail

213 x 91.5 cm
83 7/8 x 36 in

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...

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

Provenance

The Estate of the Artist

Exhibitions

Stedelijk Museum, Amsterdam, Abstracting Parables, 1 July - 16 October, 2022

Publications

Imran Mir, what you see is what you see, Karachi, Pakistan, 2014, p. 74
Imran Mir, A world that is not entirely reflective but contemplative, Archive Books, Berlin, 2022, p. 55 (illustrated in colour)

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Imran Mir: Colour, Line & Form

Imran Mir: Colour, Line & Form

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Imran Mir

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Imran Mir