Cyanotype, acrylic, pastels on fabriano paper
Dimensions: 55.9cm (H) x 61cm (W) x 0.3cm (D) / 22" (H) x 24" (W) x 0.12" (D)
Note: Actual colours may vary due to photography & computer settings.
Shifting back and forth from geometric to fluid. Using functional objects around the house to create prints- like gardeners hose pipe, dustbin cubicle, cleaning mop, chair etc. Collecting bubble wrap, cardboard, recycled paper, and thermocol as an evening ritual from the day's delivery. There are prompts given by the printing process that lead to creating abstract form through paint. Line, form, impressions, textures, shapes help carve out a new language between light and colour. What starts to form is a sort of interdependence between two mediums.
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.
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 or misconception is what nanaki works on these days.
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