This painting shows the paradox of life. Like a Girl in the painting. We all hold the jar of our fantasies (in a form of Fireflies) which has very short life. Without realising impermanence of our changing dreams, we are trapped in our own jar of illusions. We can only come out, when we realise that we are stuck inside. And once we come out of it, we will discover ourselves and we will find various possibilities and magic which have shown through various forms and colours of mannequins and stars.
I am a Mumbai based visual artist, and have completed my fine arts from the Rachna Sansad college, Mumbai.
I have found the concept of ‘paradox’ very interesting to work on.
As an individual my observations have led me towards an inward journey, which surfaces as utopian subjects within binary perspectives.
Locating myself as the protagonist, I manifest as the traditional, conservative as well as modern and progressive one in my works. Within a feminist panorama, I question the concepts of modernisation and tradition from an objective inquiry.
Indian miniature as an art form embodies the traditional vs the mannequin representing the modern, each contributing towards a distinct identity, yet synthesising towards a new narrative. The execution emerges from paradoxical venturing as well, like, placing the synthetic mannequin within mysterious eternal spatial backgrounds, vis a vis, the traditional symbolic elemental forms such as lotus, birds, conch, tree, sun or the moon bringing in myriad connotations.
Each work as built on polar narrations intrigues the viewer to bring in his own narrative formations.
On one hand my self-expressive surrealistic vocabulary stems from myself as the protagonist, and on the other side she represents an urban rural woman within her spiritual journey. With feministic approaches and an alertness towards social awareness related with humanism and impact of modernisation, take a further lead into my works. The concept of modernisation though progressive as a critical threat to our culture, inclines me towards the value of cultural preservation. Which directs me towards a determent decision to find my inspiration from the jewel toned Rajput, Kangra, Deccan School of Painting besides the Eastern-Western Indian miniature art forms arriving from patronaged Mughal miniature paintings, having its influences in Islamic, Indian and Persian Safavi styles.