View To Scale
View In Room
View To Scale
View In Room
Acrylic on canvas
Dimensions: 99.1cm (H) x 86.4cm (W) x 5.1cm (D) / 39" (H) x 34" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
taking inspiration from raising our consciousness through kundalini yoga, the serpent is the protagonist in this work. The canvas divides into 4 stages of life; Gurdjieff's fourth way becomes the work. This work helped me focus my energy and attention on colour, self-remembering and being as much in the present moment as possible. as a person i tend to day-dream and get caught up in my ways, where as Gurdjieff's text and his teaching helped me get out of my own way.
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Based in: Delhi
Nanaki Singh (b. 1991, India) was born and raised in New Delhi, India. She pursued her undergraduate studies at Lasalle College of the Arts in Singapore and graduated with a B.A in Fine Arts from Goldsmith’s, University of London in 2013. She has participated in group shows in Singapore and India.
Nanaki’s work deals with her falling prey to influences from outside/external environments as triggers and starting points for her studio work. Bodily discomforts are addressed through her paintings as she comes face to face with her demons(hurt feelings). How she accepts, rejects and resents these habits/patterns as part of the process. This strange but intimate struggle helps her move forward with her whole Body through the canvas. Her approach is almost never planned, but a basic idea of colour, light and space is known through instinct and organic disorder. Her body forms the most integral part of her performance (painting) and being in touch with her feelings is key. Her transfiguration into surrendering her Body is an almost violent destruction of the ‘I’. What am I? This constant re-instatement leads to painful growth and letting go of old truths, forever forming a re-defined relationship with present time.
Her work has a deep philosophy and practice with G.I. Gurdjieff’s Fourth Way. She tries to instill as much self-observation and self-remembering while painting. Each stroke and movement is seen with presence and awareness (as much as she can). Her attention to Space and Time and moving with lightness is remembered. Her struggle with identifying with and observing the friction between her thinking, moving, instinctive, intellectual and emotional centres is the result of her work. The canvas becomes the personality or the identified material and her way of associating as an ‘artist’. To break this buffer, blind spot, misconception is what nanaki works on these days.
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