The comparison that arrives unbidden is Hilma af Klint - not the large Paintings for the Temple series but her smaller diagrammatic studies, in which looping red and black lines function as notation for forces the eye cannot otherwise see. Mustry's three forms share that quality of apparent incompleteness that is, on closer attention, structural: an open arch at the left, a vertical staff with a small hooked finial at centre, and a descending spiral tail at the right, each red line weighted with the same unhurried pressure throughout.
The comparison that arrives unbidden is Hilma af Klint - not the large Paintings for the Temple series but her smaller diagrammatic studies, in which looping red and black lines function as notation for forces the eye cannot otherwise see. Mustry's three forms share that quality of apparent incompleteness that is, on closer attention, structural: an open arch at the left, a vertical staff with a small hooked finial at centre, and a descending spiral tail at the right, each red line weighted with the same unhurried pressure throughout.
- Curatorial note, wifärt gallery