Friday, June 10, 2005

Statement

“Whatever rests on the foundations of life is good, when new formation and preservation each find themselves in the other. Let us therefore, think not of form, but of the act of forming.”

Paul Klee

My research focuses on an exploration of pattern recognition within organic form and an understanding of the veiled unity and universal underlying structure within nature’s complexity. The evocation of nature in the manner in which it is experienced rather than by direct representation is of particular interest to me. The images revolve around rhythms and growth patterns creating a space that exists as a site of mystery, regeneration and metamorphosis.

Drawing equally from the traditional form of wood block printing, where the single continuous line is often employed to fashion form, and from the essential principles of print media, i.e. the multiple and repeated image, my practice investigates processes of recursion; repetition and layering that coalesce to weave together natural forms held together by an almost imperceptible structure. Combining photographic and drawn images of the organic, the work exists at the edge of chaos, with tangled or flowing lines pushing and pulling at themselves to create the sensuous irregularity and unpredictability that is the signature of our physical environment.

The forms are holistic in the sense that everything affects everything else with many parts feeding back into each other. Some images are self-similar, a characteristic of fractals (forms with detailed structure on every scale of magnification) describing symmetry across scale, implying recursion, pattern within pattern. Taken together, self-similarity and holism are employed to fashion forms that mirror and metaphorically invoke the patterned mysteries of the natural world.

In my investigation of the constituent parts of complexity, I have been led to reduce my forms to a series of rhythmically repeated units. A form of ‘articulation’, of building up the work through the varied repetition of basic germinal elements, such as a single drawing, with the result that the images often seem simultaneously simple and intricate, skirting a fine line between order and chaos. It is the intersection of the two that is particularly appealing, creating a tension composed of similarities and differences that gives birth to lucid ambiguities. Order and chaos are what you choose to isolate or frame, a synthesis of figuration and semblance.

The natural world describes a perfect harmony of order and disorder. In the way that fractals are a way of visualizing chaotic behaviors, the forms I create are a visual exploration of the nature of complexity, rooted in the iteration or repetition of simple rules and simple processes. Complexity cannot be truly comprehended without a conviction of its underlying simplicity. Order and chaos are often thought to be polar opposites, yet a new form of chaos may be explored that is not just something in the middle, a splitting of the difference, it may be a third pole.

Statement

“Whatever rests on the foundations of life is good, when new formation and preservation each find themselves in the other. Let us therefore, think not of form, but of the act of forming.”

Paul Klee

My research focuses on an exploration of pattern recognition within organic form and an understanding of the veiled unity and universal underlying structure within nature’s complexity. The evocation of nature in the manner in which it is experienced rather than by direct representation is of particular interest to me. The images revolve around rhythms and growth patterns creating a space that exists as a site of mystery, regeneration and metamorphosis.

Drawing equally from the traditional form of wood block printing, where the single continuous line is often employed to fashion form, and from the essential principles of print media, i.e. the multiple and repeated image, my practice investigates processes of recursion; repetition and layering that coalesce to weave together natural forms held together by an almost imperceptible structure. Combining photographic and drawn images of the organic, the work exists at the edge of chaos, with tangled or flowing lines pushing and pulling at themselves to create the sensuous irregularity and unpredictability that is the signature of our physical environment.

The forms are holistic in the sense that everything affects everything else with many parts feeding back into each other. Some images are self-similar, a characteristic of fractals (forms with detailed structure on every scale of magnification) describing symmetry across scale, implying recursion, pattern within pattern. Taken together, self-similarity and holism are employed to fashion forms that mirror and metaphorically invoke the patterned mysteries of the natural world.

In my investigation of the constituent parts of complexity, I have been led to reduce my forms to a series of rhythmically repeated units. A form of ‘articulation’, of building up the work through the varied repetition of basic germinal elements, such as a single drawing, with the result that the images often seem simultaneously simple and intricate, skirting a fine line between order and chaos. It is the intersection of the two that is particularly appealing, creating a tension composed of similarities and differences that gives birth to lucid ambiguities. Order and chaos are what you choose to isolate or frame, a synthesis of figuration and semblance.

The natural world describes a perfect harmony of order and disorder. In the way that fractals are a way of visualizing chaotic behaviors, the forms I create are a visual exploration of the nature of complexity, rooted in the iteration or repetition of simple rules and simple processes. Complexity cannot be truly comprehended without a conviction of its underlying simplicity. Order and chaos are often thought to be polar opposites, yet a new form of chaos may be explored that is not just something in the middle, a splitting of the difference, it may be a third pole.

Thursday, June 09, 2005

C.V.

EDUCATION

2003–04 M.A. in Fine Art Printmaking, Winchester School of Art, U.K.
1997–01 B.F.A. in Painting, College of Art, New Delhi, India
1978 Born New Delhi, India


SELECTED EXHIBITIONS

2005(March)
‘Imaging Materiality – Gesture of the City’, curator Dr. Alka Pande, Visual Arts Gallery, India Habitat Centre, New Delhi.
2004–05
The Nature of Patterns Exhibition, British Library, London.
2004(Nov)
New Contemporaries, Fairfield’s Art Centre, Basingstoke, England.
2004(Aug)
MA Printmaking Winchester School of Art, Southampton City Art Gallery, Southampton, England
2004(Sep)
Winchester School of Art MA Show 2004, Winchester School of Art, England.
2004(Jan)
The Road is as Wide as it is Long’ collaborative Bookmaking project between students of the Winchester School of Art and the Burren School of Art, Burren College of Art, County Clare, Ireland.
2003
‘Reclaiming the Lotus', Triveni Galleries, New Delhi, India show organised by Apparao Galleries, Chennai and curated by Dr. Alka Pande, Visual Arts Gallery.
'Bachelor's Apartment', Palm Court Gallery, India Habitat Centre. Group show of Indian and Dutch artists curated by Alka Pande, Visual Arts Gallery, New Delhi and Robert Duyf, Jim Beard Gallery, Amsterdam.
2002
'Beyond Memory' Palm Court Gallery, India Habitat Centre, New Delhi, India.
Graduation Show of the College of Art Batch of 200, All India Fine Arts and Craft Society (AIFACS), New Delhi.
WOW: Women on Women' Three-person show curated by Deeksha Nath as part of an International Women’s Day Event, Sri Ram Centre for the Performing Arts, New Delhi.
2001- 03
‘Carry On Drawing’ Exhibition of Prints and Drawings traveling from Savannah Georgia and New Delhi to Toronto, Chicago and New York. Curated by Avantika Bawa.
2001
'JOSH' Solo Exhibition of paintings inspired by the theme Josh (exuberance) as part of the Young Icons Program organised by Ford India Limited, Taj Palace Hotel, New Delhi.


RESIDENCIES & TRAINING

2005 (May–June) Critic-in-Residence, Peers 2005, KHOJ International Artists’ Workshop, New Delhi
2005 (March) Artist-in-Residence, Townley Grammar School, London
2004 (Oct-Jan) Artist-in-Residence, Glasgow Print Studio, Glasgow.
2004 (May) Artist-in-Residence, Curwen Chilford Print Studios, Cambridge
2001– 03 Atelier 2221 Edition Studio, New Delhi.

TEACHING & CAMPS/WORKSHOPS

2005
Artist-in-Residence, Townley Grammar School, Bexleyheath, London.
2003
Printmaking Teaching Assistantship with Prof. Anupam Sud, College of Art, New Delhi.
'Bachelor's Apartment' Indo-Dutch collaborative workshop with local craftsman and printers in Ujjain and Jabalpur districts of Madhya Pradesh, India.
‘The Gestural In Drawing’ workshop with David Schorr.
2002
'Beyond Memory' Artist's camp Rohanda, Himachal Pradesh


AWARDS & PRIZES

2001 Sailoz Award for Consistent Outstanding Achievement for The Bachelor of Fine Arts Degree, College of Art, New Delhi.
Selected Icon of the Year in the Field of Fine Arts, as part of the Young Icons Program, a nation-wide competition organized by Ford India Limited targeting top students.

EXHIBITION COORDINATION & RESEARCH

2004
Consultant, The Nature of Patterns Exhibition, British Library, London.
2001-03
Researcher & Assistant Editor with Dr Alka Pande, Consultant Arts Advisor and Curator, Visual Arts Gallery, India Habitat Centre, New Delhi, India.
2002
'Borderless Terrain' curated by Dr. Alka Pande, Visual Arts Gallery, India Habitat Centre.
'Navarasa in Contemporary India Art' curated by Dr. Alka Pande, Visual Arts Gallery, India Habitat Centre.
'Patchwork Montage — Kutch A Commemorative' curated by Dr. Alka Pande, Visual Arts Gallery, India Habitat Centre.
2001-02
The Aesthetic Experience - A Dialogue in Appreciating the Arts' Lecture Series I & II held at the Visual Arts Gallery, India Habitat Centre.