Each line of henna is applied vertically by hand using a piping cone, in an automatic manner and with minimal guidelines. Whilst the lines may begin with certainty, where they end is intuitive, allowing for unplanned outcomes and churning compositions. The approach embraces constraint not as limitation, but as a generative structure, one in which repetition and reduced decision-making become tools of both discipline and expression, rendering the painting a visible trace of energy and focus.

 

Borrowing its title from Aza Raskin’s algorithmic innovation, Infinite Scroll echoes the repetitive gestures of endlessly loading digital content. Here, mark-making is recast within the architectures of algorithm and feed. Mistry interrogates the addictive qualities of scrolling and mental engagement, mirroring these gestures in her paintings as a possible route toward their spiritual antithesis.

 

Each surface functions like an archival seismograph, an accumulation of labour, memory, and the subtle transmission of narrative through gesture, echoing the symbolic coding within traditional henna practices.