Running from April 27 to June 26, this will mark the artist’s first show in Germany, and her second presentation with Pace since joining the gallery’s program in 2022. In these paintings, Mohamedi continues her exploration of fundamental relationships between colour and shape, language, matter, and being.

Invention and discovery lie at the centre of Mohamedi’s approach to mark making, posing a paradoxically simple question: What is shape? Her works suggest that shape is more process than product. Shape begins when emptiness is interrupted: when two points coalesce into a line so that the solidity of colour is birthed as form. The paintings in Mute Counsel unfold slowly, spooling and unspooling time. Investing form with an almost animistic vivacity, it is as if each shape in Mohamedi’s paintings were possessed of an individual spirit or personality. Like people, her shapes seem at first to belong to types, yet, on closer inspection, each is emphatically unique.

Mohamedi’s compositions suggest fields of irruption. Like lunar surfaces—which bear the history of innumerable collisions with celestial bodies inscribed over millennia—her paintings record the many soft and sensuous collisions between her own body and the surface of the canvas. The act of painting becomes an act of touch, a series of moments of rupture or embrace. Like ever-extending ripples, she sets into motion a process through which form takes shape.

The artist’s fascination with the brain’s processing of visual information, stemming from her academic background in neuroscience, drives her to question how reality is deconstructed and reconstructed through infinitesimal differences, yet perceived as a seamless whole. “All visual processing is about calculating difference,” Mohamedi has explained, “How do you determine and locate edges? Everything depends on the edge.”
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