This work goes back to the period when I was beginning my first experiments with Siah Mashq, and the works of Mirza Gholamreza Esfahani were an important source of observation and learning. Rather than thinking primarily about filling the page, I tried to explore the movement, proportion, and encounter of the letterforms, and to see how each form could set the next one in motion.
In “Nik,” empty space becomes an active part of the composition. Long extensions, variations in the weight of the pen, and the distance between letters create a rhythm that moves away from the usual density of Siah Mashq and draws greater attention to the independent movement of each line.
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