The Book takes the Quran as its subject, and its square-in-square composition is deceptively complex. Referencing Malevich’s supremacist design which approached abstraction as an embodiment of pure emotion, Ayari attempts to translate the sanctity of religious doctrine and experience, to understand its meanings by manifesting its form in the physical medium of paint. Rendered in grand scale, size is used to denote the scripture’s importance. Ayari, who does not consider herself to be religious, allowed herself to be directed through an intuitive response to her subject when making this work, her gestures informed by childhood memory and rediscovery of the values of prayer and ritual.