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comes from Aligarh and speaks chaste Urdu; she is helpful if anyone cares to know the secret behind the plates. But she has not arrived yet at a point with her prints to make the medium a message; only in two or three woodcuts out of 12 displayed is she able to dazzle us with technique-effects as in "Structure II". This is the composition of a door showing the rich wood-grain and nothing more. But in its simplicity the print has a spellbinding effect; the texture of the wood is so lovingly printed that attention shifts immediately from the composition to the texture-effect. 

This is a moot point because what impresses us most in her prints is not the technique-texture gimmick but her strong sense of composition and austere, articulate forms. Take, for instance, her four variations on the flight theme. That feeling of take-off and of movement is a compositional device-a geometric construction of the key horizontal form inlaid with interesting vertical shapes. In the woodcut the technique dominates, the forms are less articulate and the result is not as satisfying as the intaglio prints. There is great spontaneity in her woodcuts but accident - of the kind that happens to a child's painting - plays a greater role.

Her compositional power is well displayed in prints like "Bird", "Man" and "L'Homme Seul". More perhaps in "Bird" which is conceived as a drawing for an intended sculptural study. It is like a Hepword sculptural drawing complete with holes and other devices. This is made interesting with burin work as if the lines are intended to blur the three-dimentional sculpture effects. The print is full of colours and other textural values that can be obtained through intaglio methods only. In "Man", colour and image are part of composition and the yellow and green lines create a feeling of movement which is as predominant as in her flight prints.