At one level, Rekha Rodwittiya is interested in fathoming the loss of identity and co-related transition in the complex socio-economical urbanscape, an outcome of several factors like the burgeoning capital economy, hastening the goods and commodity flow; globalization and the migration.
She has stated: “We seldom think of how it’s defined by roads that occupy a high percentage of land in any nation. They are ubiquitous points of reference, of connection, arteries, but yet a 'non-subject'.”
Fragmentation surfaces as means of depicting the experience of surviving in the world: invariably incomplete and suggestive of an extended frame beyond. This, in terms of execution, may take several forms: fracturing the image; incorporating many fragmented images into one single frame; painting a part of the narrative/ image onto single frame/s; or perhaps selecting a fragment of it to render skillfully.
This sensitive artist juxtaposes the satire and the profundity of life as she looks to capture the power and potential of women. In the process, her artistic vision comes to the fore with mellifluous beauty and mystic. Rekha Rodwittiya's art practice largely revolves around drawing and painting; conceptually it is rooted in ideas of narrative, at different ways of looking, perceiving and the privileging of sight.
She elaborates: “I explore ideas of the daily narrative of our lives in this world through fragmentary, familiar and unfamiliar perspectives – with a keen attention to technique in the eventual resolution of the work, so that the subject of a work is both its content and manner in which it’s portrayed.”
Her much-applauded ‘Sing The Body Electric’, site-specific installation of drawings in collaboration with architect Dhruti Vaidya, incorporates a maze - an imaginative representation of the womb. The abstract feel in the realistic representations of the biological process is among the many contrasts at play here, which makes us pause and ponder.
She has stated: “We seldom think of how it’s defined by roads that occupy a high percentage of land in any nation. They are ubiquitous points of reference, of connection, arteries, but yet a 'non-subject'.”
Fragmentation surfaces as means of depicting the experience of surviving in the world: invariably incomplete and suggestive of an extended frame beyond. This, in terms of execution, may take several forms: fracturing the image; incorporating many fragmented images into one single frame; painting a part of the narrative/ image onto single frame/s; or perhaps selecting a fragment of it to render skillfully.
This sensitive artist juxtaposes the satire and the profundity of life as she looks to capture the power and potential of women. In the process, her artistic vision comes to the fore with mellifluous beauty and mystic. Rekha Rodwittiya's art practice largely revolves around drawing and painting; conceptually it is rooted in ideas of narrative, at different ways of looking, perceiving and the privileging of sight.
She elaborates: “I explore ideas of the daily narrative of our lives in this world through fragmentary, familiar and unfamiliar perspectives – with a keen attention to technique in the eventual resolution of the work, so that the subject of a work is both its content and manner in which it’s portrayed.”
Her much-applauded ‘Sing The Body Electric’, site-specific installation of drawings in collaboration with architect Dhruti Vaidya, incorporates a maze - an imaginative representation of the womb. The abstract feel in the realistic representations of the biological process is among the many contrasts at play here, which makes us pause and ponder.
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