ARTIST STATEMENT

Space, objects in space, the energy between the forms and lines as they hold their place - these elements are central to my work.

The work is about space and elements that occupy space, the relationship between the forms, the balance between objects and the precarious nature of this balance.

The placement of the geometric forms has a close relationship with measurements, a simple mathematical tool.

My work is based on mathematical principles and leans on traditions of geometric abstraction. But the elements occupying pictorial space are not necessarily devoid of emotions, its connectivity to history, past and present.

The particular placements of the geometric shapes on the picture plane are carefully considered with an intent to activate the optical space and invite a response.

The nonobjective constructivist nature of the work allows for a variety of interpretation and a broad range of emotional response.

My practice of minimalist reductive paintings is a form of resistance to today’s chaos, an effort to offer an aspiration, an alternative to overarching informational and materialistic chaos of visual clutter, a desire to find a structure, a sense of order to engage with meaning.

A prayer for peace.

Munira Naqui is a visual artist. Born in Chattogram, a bustling port town on the coast of Bay of Bengal in Bangladesh, she lives off the coast of the Atlantic Ocean in the state of Maine. She works in her studio tucked in the woods across a pristine lake in New Gloucester, Maine. Her work is non-objective, concrete and reductive in nature.

Munira Naqui’s work is in various collections in the USA, France, Germany, the Netherlands, Hungary, Japan, Australia, Taiwan and Bangladesh.

She is the founder of The Drawing Collective, a community of artists from 15 countries who practice nonobjective drawing. The Drawing Collective portfolio is in the permanent collection at Bowdoin College Museum of Art.

CV

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