One of India’s most noteworthy contemporary artists, Nalini Malani’s practice is greatly influenced by her personal experiences of the Partition of India. Her point of view is urban and internationalist, and unwavering in its abject condemnation of a cynical nationalism, which looks to exploit the blind beliefs of the masses. In a way, hers is an art of excess that traverses the boundaries of legitimized narrative, and exceeds the conventional, to initiate dialogue.
As a woman who has lived in a world of ‘man’-made disasters, she has often drawn from the stories of characters like Aka, Medea, and Mad Meg. Elaborating on her tendency to ‘retell’ stories in paintings and installations, she has stated: “In India stories from the epics are told over and over again. When people know the story there is a certain pact because they can anticipate what will come next. My idea is not only to retell them in a new form but also in new configurations.”
While studying at Mumbai’s Sir J.J. School of Arts, she acquired a studio, and had the opportunity to interact with senior artists like Tyeb Mehta and MF Husain. After completing a Diploma in Fine Arts (1964-69), she received a Scholarship for Fine Arts from French Government (1971-72). In the eighties she organized the landmark exhibition, entitled ‘Place for People’, along with Vivan Sundaram. Later she thought of a traveling exhibition comprising only female artists, ‘Through the Looking Glass’.
Amplified characteristics of her socially sensitive works gradually transformed into new media, international collaboration, slipping into the surrounding space like ephemeral wall drawing, shadow play, multi projection works, installation and theatre. Bringing out the essence of her artistic evolution, The New York Times art critic Roberta Smith has rightly pointed out in a review: “The artist seems indebted to American artists like Nancy Spero, Ida Applebroog etc, who have used illustrational styles.
“Her work surpasses theirs, thanks to its glowing, transparent colors; ease of execution; and visual richness. These qualities make it, despite its sometimes harsh subject matter, an essentially celebratory art.”
As a woman who has lived in a world of ‘man’-made disasters, she has often drawn from the stories of characters like Aka, Medea, and Mad Meg. Elaborating on her tendency to ‘retell’ stories in paintings and installations, she has stated: “In India stories from the epics are told over and over again. When people know the story there is a certain pact because they can anticipate what will come next. My idea is not only to retell them in a new form but also in new configurations.”
While studying at Mumbai’s Sir J.J. School of Arts, she acquired a studio, and had the opportunity to interact with senior artists like Tyeb Mehta and MF Husain. After completing a Diploma in Fine Arts (1964-69), she received a Scholarship for Fine Arts from French Government (1971-72). In the eighties she organized the landmark exhibition, entitled ‘Place for People’, along with Vivan Sundaram. Later she thought of a traveling exhibition comprising only female artists, ‘Through the Looking Glass’.
Amplified characteristics of her socially sensitive works gradually transformed into new media, international collaboration, slipping into the surrounding space like ephemeral wall drawing, shadow play, multi projection works, installation and theatre. Bringing out the essence of her artistic evolution, The New York Times art critic Roberta Smith has rightly pointed out in a review: “The artist seems indebted to American artists like Nancy Spero, Ida Applebroog etc, who have used illustrational styles.
“Her work surpasses theirs, thanks to its glowing, transparent colors; ease of execution; and visual richness. These qualities make it, despite its sometimes harsh subject matter, an essentially celebratory art.”
No comments:
Post a Comment