Untitled, 1981, features a mezzotint print of a distinct geometrical taking center stage. Presenting a dome-like contour at the apex and a horizontal rectangular base, Nasiri’s printing technique has brought out the vibrant hues of light turquoise that encompass the shape. The extremities of the shape are lightly shadowed with the residue of the ink. Its surface unveils different shades of the turquoise pigment, as damp paper stains appear across the solid background, saturated at the top. Beneath these stains, seven consecutive white dots of equal size are thoughtfully positioned horizontally at the intersection line between the dome and the base. They offer a compelling focal point that draws the viewer's attention. The stark contrast of the imprinted shape on top of the white background allows the viewer to peer through an oculus window out to a turquoise vista.

The turquoise shape is traversed by thin, horizontal, imprinted lines from top to bottom. While at the center of the base, the artist abstractly displays gilded characters of Arabic calligraphy outlined in gold. The horizontal lines gently halt around this focal point. The intentional interruption in the continuity of the lines highlights the effect of layering by the artist. Lighter pigmentation and golden touches outline the letters accentuating the calligraphy work. The calligraphic writings exhibit a variety of shapes and sizes: some resemble the letters (و, 

ال،س،ن) in Arabic; they appear as fluid curves and delicately placed dots. Guided by golden arrows, the calligraphic script traverses both left and right directions, guiding the viewer’s gaze. 

Untitled, 1981, reflects Rafa Nasiri’s Modernist style, which features bold, solid masses of color. Moreover, Nasiri’s work is informed by classic Islamic influences and Chinese artistic traditions adopted from his time studying in China. Echoing the techniques used in Chinese art, including ink painting and calligraphy, his work presents a richly pigmented blue palette. The carefully chosen hues create a serene stillness and depth. 

Moreover, Nasiri draws from Islamic traditions by employing simple meditative abstractions to convey a sense of spiritual perspective. As such, Nasiri's work explores the sacred aesthetic principle. In Untitled, 1981, the turquoise printed shape is an integral element of the composition. It is reminiscent of the architectural elements found in a Mihrab, a niche in the wall of a mosque at the point nearest to Mecca, towards which the congregation faces to pray, wherein the open space out looking from the abstracted window signifies the manifestation of the divine.

Untitled, 1981, showcases a masterful fusion of artistic techniques, cultural influences, and abstract forms. Through an interplay of color, shape, and calligraphy, Rafa Nasiri creates a composition that invites contemplation and exploration. This artwork stands as a testament to Nasiri’s sophisticated understanding of modernist movements, inspired by cultural traditions, and his ability to create a serene and conceptually rich abstract piece.

Signed and dated in English lower right front with edition front lower left