Mohka’s work often engages contradictory light sources which open the viewer to infinite perceptual shifts between flow and disruption. This is the geometry she is fascinated by, as a way to subvert reason or, to quote Bridget Riley, to “stimulate the mind’s eye.”

Mokha’s work references neo-concrete art and numerous art historical investigations, transcending cultural and physical boundaries in a pure aesthetic experience. The interaction of structure and color is also rooted in the chromatic legacy she inherited as studio assistant to Gene Davis of the Washington Color School, as well as her childhood in the North African desert and her home in New Mexico.