Drawing from her Iranian heritage where strict social etiquette creates a division between the sexes, Madani’s paintings gleefully envision what she imagines to be the ‘goings on’ at men-only events. In Holy Light, Madani pictures an everyday prayer meeting as a ritual of a more erotic variety, as devotees cower from the golden shower of divine blessing. Drawn out with marker pen and layered with yellow paint, Madani renders this scene with minimal detail, the painting’s crude content becoming a loaded approach to formalism.

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