The Pakistani painter, sculptor and designer Imran Mir has always been reluctant to explain his work. His entirely abstract work contains no references to the ‘visible world’. In his paintings and sculptures, Mir uses a purely visual vocabulary of grids, patterns, circles, triangles and organic forms. Educated in Denmark and Canada, Mir is well aware of the developments in modern Western art. He regards his exhibitions as ‘non-academic statements on modern art’ and consistently calls them ‘Papers on modern art’. His Sixth paper on modern art (1984) contains recognizable recollections of Leonardo da Vinci’s Vitruvian Man (ca. 1490) in which man serves as the measure of things. From the year 2000, influenced by Mark Rothko and others, Mir made monumental paintings in saturated colours that can visually envelop the observer and that evoke the sublime.