Statement

Since the onset, I have been fascinated by architectural forms, especially the urban architecture being a major source of inspiration. The concrete jungle where we dwell and thrive has many emotional layers. These layers blossom in congested spaces. The proximity of people combined with my search for personal space is the most arduous part of city life. The value of space and time in the megalopolitan ecosystem has a significant role in shaping the way I perceive the world. The confined territory with the chaotic movement of the outside world made me sink into an imaginary world of order and structure leading to the surface forming a field for my imaginary space.

City houses, the architectural cube made with horizontal and vertical surfaces, along with the interaction vision and light revels the space inside a room. This small area becomes the guardian of my thoughts which is enclaved by the walls. The artwork I do revolves around the idea of space, the interaction with space and position within the structure.

“The artist, no less than the writer, needs a vocabulary before he can embark on a copy of reality.”

― E.H. Gombrich

My approach towards the artwork is quite similar to a modest play, like placing a set of rules and providing a limited area to explore. By placing such restrictions and limitations, the chance to explore the restricted area to its absolute potential is unlocked. The combination of all possible arrangements of forms within a specific space and by following a set of mathematical formulas help in achieving a visual language.

Geometry:

“Thus, we look upon the geometric point as the ultimate and most singular union of silence and speech.”

― Wassily Kandinsky.

Dot is the primordial element to depict the beginning of any form, and it can also be the most complex element if done recurringly.

If two dots on a plane are connected with a narrow spectrum, it creates a line. The gesture of drawing lines provide a deeper and meditative engagement with the material and shapes. This humble line is used extensively in the artwork to define shape, volume, and arrangement.

Logical Arrangement (The Mathematical approach towards an arrangement of dots, forms and composition):

The act of making the artwork is process orientated, based on the logical division of space, i.e., Grids.

Grids are a pivotal part of my practice as they provide a basic framework. An underlying logical and mathematical approach and symmetrical balance sets the layout. Sometimes, I like to keep the grid visible to portray the process, with permeable rawness.

Each divided space within a grid is numbered. These numbered spaces form an abstract layer defining the composition for my artwork.

The surface area follows a few simple rules, and one of the rules is that everything is divisible with either number 2 or 3. This rule also dictates the rest of the arrangement and provides an organisational system making it easier to manipulate the rules of perception and ratio. This creates a personal disciplined playground.

Surface Treatment:

Technique and material are vital for expressing my notions. The different mediums have distinct characteristics and along with the changes in its formal state, creates a visual composition. Polarity in composition is where both sides of the surface have a visual form.

The rawness of the material is left exposed, emphasizing the fragility and the changing nature of the material.

The light waves propagated on the surface creates shadows, thus forming multiple overlay of spaces, producing tangible layers. The shapes made by the movement of light as well as the physical movement of the forms makes the work visually engaging.

“The desire to obtain maximum out of minimum, creating pure abstract harmony devoid of any elemental representation existing in the real world. The juxtaposition of embodied achromatic work, tactile and fragile, and the emptiness – draw attention to spatial relationships—positive or negative and absence or presence—above subject matter.”