years ago in the deserts of turkistan
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Pouran Jinchi, details of pieces from the exhibition Dawn, Noon, and Night, 2011-2012 (source). 

For these works, “pigment is rubbed on paper over a prayer stone (mohr) […] In these works, Jinchi uses multiple rubbings of the raised text and simple patterns of the round or rectangular prayer stones to create larger patterns. Ultimately, the dozens upon dozens of rubbings form a circle or a cross or another basic geometric form […] Her process of repeatedly rubbing the stones to make an image and then again and again repeating this process to complete the drawings point to the body movements humans have made in contemplation, revery and prayer over millennia. The clarity and refinement of the larger geometric forms and their organic formation speak to natural processes which result in shapes of highly ordered structure, an ice crystal for example, that at the same time give little clue as to the forces involved in their creation. […] As in nature, one’s first prayer cannot be the same as one’s ten-thousandth, and the same goes for drawing.” (description adapted from this article)

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