This work clearly illustrates familiar qualities of a major period in the career of Behjat Sadr; a period of experimentation with mixed media on an aluminum sheet to create abstract designs with the use of black thick lines. No Iranian modernist has exploited unconventional, effective qualities of black paint as much as Behjat Sadr. Contrary to conventional methods of applying paint, the painter has removed layers of color from the surface of the aluminum sheet to create abstract undulating and sometimes musical forms. In addition to introducing a new practice in Iranian Modernism, Sadr utilized this method as an innovation in a behaviorist experiment of Iranian painters. She sought an invisible world in the midst of the black color that was created out of either darkness or light and would be revealed by the removal of paint. It was similar to the observation of a poet or writer who would read between the lines to extract underlying meanings rather than looking at the words. In other words, an esoteric space with no color is more visible than what is explicitly expressed.
