Yamini Nayar’s creations seem trapped in between post-explosive moments of reality and dream like scenarios in which humanity has almost been wiped out.
‘What is Essential’ (C-print), composed of ready-mades deftly juxtaposed into a configuration of modern narrative. There is a faded black & white photograph of a parachutist that rests between the tiled floor and laminated fake wooden wall. The photo and a wide array of porcelain and plastic objects seem to be organized as a desk might be arranged. The work looks to explore the intimacy of floating objects in space.
Another C-print ‘Luck Is The Residue Of Design’ depicts a seemingly abandoned space the earth seems to have shaken. Here the delicate shell of walls and floor seem to have cracked under the weight and force of temporary motion. The alcove at the back though, has taken a bit of the force of an act of nature or the weight of something man-made. The usage of foreshortening builds a sense of compression as well as claustrophobia in this imagined interior.
Cleo, a recent photographic work, displays a darkened attic along with broken floorboards and an incomplete partition wall. It has an eye crudely cut into the back wall. With this composition, resembling a faded horror film scene, the artist constructs heightened melodrama. By drawing directly onto photo images, her 2008 series recalls French architect Yona Friedman and his working sketches as well as formal solutions for which he scores directly onto of pre-existing architectural spaces’ documentation.
At the root of Yamini Nayar’s geometric interventions lies such inventiveness. Her redesigning of damaged cityscapes is done in order to suggest further possibilities. Here, she builds order out of chaos, to seek sense where there are only the post-destruction remnants. Another architectural drawing on photograph has the artist using previous documentation as a starting point.