Young and talented Praneet Soi explores representations of familiar images emanating from the rumblings around in order to grasp how such imagery can affect the way we might perceive our own environment. The artist is known for addressing sensitive social issues with a global or local resonance.
Giving an insight into his processes, a curatorial note to his display ‘Het Oog (the Eye)’ at Van Abbe Museum had mentioned: “In a time where we are inevitably confronted with images of conflict from all over the globe, the artist asks himself how the human figure is represented in contemporary image culture. In our time, where the use of age-old image conventions is appropriated in professional image production, what happens when this very figure is ripped apart and an attempt is made to reconstruct it in another way?”
On the other hand, his ‘Cut-Out’ comprised an archive of images composed as cut out collages, together with paintings and a mural as a means for him to mark out his physical, political and cultural environment. On the other hand, his ‘Juggernaut’ included works that when juxtaposed led to a certain social commentary.
Encapsulated within the notion of progress today are the dual forces of war and globalization. The thread that strings these forces together is history. The series employed political imagery born of such process to picture the strange alliances and mutations that populate its disturbed trail.
His paintings in miniature format and on flattened ground explored images of unrest from across the world - Afghanistan, Lebanon, London and Iraq, whereas for a project earlier this year, he visited the insurgency hit city of Srinagar in Kashmir. An interactive document was prepared to follow the state’s political problematic along juridical lines within history. A slide-show offered details of a fulfilling personal and intuitive exploration of the city. Collages, text as well as photographs drew upon its inherent beauty. The composition – not predetermined - albeit materialized in a symbiotic relationship with the space.
Giving an insight into his processes, a curatorial note to his display ‘Het Oog (the Eye)’ at Van Abbe Museum had mentioned: “In a time where we are inevitably confronted with images of conflict from all over the globe, the artist asks himself how the human figure is represented in contemporary image culture. In our time, where the use of age-old image conventions is appropriated in professional image production, what happens when this very figure is ripped apart and an attempt is made to reconstruct it in another way?”
On the other hand, his ‘Cut-Out’ comprised an archive of images composed as cut out collages, together with paintings and a mural as a means for him to mark out his physical, political and cultural environment. On the other hand, his ‘Juggernaut’ included works that when juxtaposed led to a certain social commentary.
Encapsulated within the notion of progress today are the dual forces of war and globalization. The thread that strings these forces together is history. The series employed political imagery born of such process to picture the strange alliances and mutations that populate its disturbed trail.
His paintings in miniature format and on flattened ground explored images of unrest from across the world - Afghanistan, Lebanon, London and Iraq, whereas for a project earlier this year, he visited the insurgency hit city of Srinagar in Kashmir. An interactive document was prepared to follow the state’s political problematic along juridical lines within history. A slide-show offered details of a fulfilling personal and intuitive exploration of the city. Collages, text as well as photographs drew upon its inherent beauty. The composition – not predetermined - albeit materialized in a symbiotic relationship with the space.
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