Minimalism, when accompanied by a perfect combination of lightness and darkness, represents the perfect space; but minimalism in time wants to disrupt this perfect combination.
That perfect combination and this haste have been tamed and calmed down by Mona Janmohamadi in her portraits fixed eyes, wanting to remain a secret, or clear figures, expressing desire and sorrow, and also disfigured skins; they always depend on ontological approach; they tell the truths, or at least make a pause.
On the contrary, some elements, including figures, clothes and accessories like the flowers which, through some kind of imaginary mechanism, have grown out of the head to be hats call an existential approach to one’s mind; they don’t tell the truths anymore; they remain silent.
However, these paradoxes have gathered in today life, and representing this life when it undertakes to have some kind of aesthetic credit (like the same clothes, which are more sewed than painted) what is desired.
Mona Janmohamadi’s boldness in putting the emptiness onto the expanses of her paintings incidentally deletes the emptiness; just like growing of a plant out of the soil: it happens neither in form, nor in content; it does happen in the conduct of the both.
Khashayar Fahimi- July 2011
Translated by Pejman Tehranian