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on Wednesday 10 May, 2017

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on Saturday 08 Apr, 2017

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on Saturday 18 Feb, 2017

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on Saturday 11 Feb, 2017

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How does poetry inspire your work?

In my mind, a painting, like a poem has no obvious end or a beginning. In some ways both have their own internal symmetry that reaches out to a viewer/reader. We enter a space that sets a different motion of time, and its intensities. Both can be expansive or limited depending upon one's state of mind. 

Painting is a membrane, rippling thrumming reminding us that we are beings who are continually translating ourselves into possibilities of the known, drawing circumference around locations of the unknown. 

Both poetry and painting provoke movement (of sight and of the mind) by resonance, allusion, repetition, and by metaphor. Sometimes movement itself is form. It can be suggested or introduced by what's left out. A sense of displacement is caused by the tension between what is full and what remains empty. 

When I hold a poem to my ear I hear a deep sound, a connection, one which I instantly feel a part of. Like painting, it constitutes the spinal cord of remembering. And it reminds me that remembering is movement. 

The later the works, the more intuitive and emotional they seem. There seems to be a sense of releasing control from your hand to the paper...could you talk about this development?

I think it has to do with the evolution of ones consciousness, of seeing not divorced from feeling, of having the hand catch up with the eye. 

The early works seem like studies of flowers while the later works are more abstract and dynamic in terms of their composition. Could you please describe your artistic process of transforming the flowers that inspire you into paintings that inspire viewers?

A flower is a structure. I have been drawn to the geometry/symmetry of its form since 1999. Like any process, it takes time to peel away the layers to get at the insides. And that is what I am interested in. It's really a simple process of playing around with intangibles as if they could be seen and said. Of having the paint make a gesture, dense and explosive or ephemeral and fragile. Of allowing line, texture, harmony, dissonance, silences, ruptures, a place to circulate. To keep shape, and flow.

My intent, if any, is to keep the process open-ended. Of exposing the warmth of seeing-which-is-making with the grace of continuing without certainties, yet painting with an ever-vigilant eye.

                                                                                               @ Chemould Prescott Road