1. Tell us briefly about your practice? (Your choices of involving geographical, political and environmental issues of Barbil, anything about your current direction of practice)

 

The man made landscape of Barbil was very striking for me when I first visited the place. Following that, several visits pointed out various issues in relation to the land and people live there. The basic idea of my recent works underline the politics and policies on land and its resources, which in turn affect thousands of tribal inhabitants living there for centuries.

 

2. Serigraphy is an intrinsic medium of your works. Tell us about your work process.

 

The material/s and medium/s in my work often stand as part of the idea, they have always been interlinked with the imagery they represent. By using transferring images on an iron sheet or by mixing soil with iron ore to create a simulation of the landscape, I try to represent a very strong visual to the viewer. As a printmaker, serigraphy remains one of my favorite mediums -- it has the advantage of using layers of vibrant colours as well as minimum studio setup required.

 

3. How would you describe your current studio practice? (Would be great to have images and a short 30 sec-1 min video of the space)

 

I’ve recently been working on a landscape series using iron ore mixed with soil on large canvases. There are other materials too, like copper plates, which have been etched as mining landscapes. I’m also planning a research trip to Northeast India very soon.

 

4. What is a day in your everyday life like?

 

Well, gardening is one of the priorities in my life. I have many orchids, cacti and succulents including other plants in our apartment garden. I need to spend time with them before I start my day in the studio, which is just another room of the apartment.

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