I’ve always been interested in the dichotomy between organic and manufactured forms in art. Toba Khedoori’s large-scale works chronicle a struggle between logic and entropy. Each contains a repetitive pattern reminiscent of minimalist abstraction, but the forms’ hand-drawn imperfections and the patina on the paper suggest worldly deterioration. Her recent show at LACMA numbers among my favorite exhibitions in memory.
Many of her works depict an outside and an inside, whether the enclosure is a fence, building wall, or door. It’s interesting in light of current events to view her work as juxtaposing the coldness of human constructions in relation to natural processes of decay and disorder.