In 2014, Sherry Wiggins traveled to Delhi, India to participate in a residency at the Sanskriti Foundation where she investigated the work of artist Nasreen Mohamedi (1937-1990). Mohamedi, known for her meditative drawings and black and white photography, developed a contemplative language within her art that drew from the ancient and Mughal architectural elements of her city. It was with Mohamedi as her imaginary guide and artistic mirror, that Wiggins entered a process of visiting and inhabiting those same ancient sites. In these magnificent spaces and iconic architectures Wiggins’ furthered the connection between her peripatetic practice, one that often builds drawings from photographs, and that of Mohamedi’s. By the time Wiggins returned to her studio in Boulder, a new body of abstract works in India ink, graphite and gouache was underway. Even though the two artists diverge in perspective and media, Mohamedi having worked largely in ink and pencil, they remain linked through their individual process whereby each mediated the architectural in India in search of connectivity between self and others, nature and the built world.

Installation Images: