Starting as a painter and venturing into printmaking (b.1999), I began to deal with the interconnectedness between the media and the dissolving of the language associated with the process and finality of the making. The imprint begins from the practice of drawing of the body as it learns, records, remembers and repeats, and is also manifested form engaging with kickboxing, yoga, fabric, wood, visuals, residue and other materials, as I keep learning, encountering and abstracting and reading. Now based in Chicago, I moved here after receiving my Bachelors in Visual Arts from Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara in 2021.
untitled (roundhouse variations), 2024, trace monotypes on muslin
Sidekick (variation), 2023, screenprint on satin
gloves, 2024, risograph prints
variations (kickboxing), 2023, trace monotypes on paper
objects (variation 4), studio excess and gifted material, wax castings, hand-crafted steel clamshell box
“My interests include experimental print, material study, and investigating the ontology of the print with multiple substrates.”
“The perception conflates the materials, which includes solid organic materials and residue into a visual experience.
I am witnessing the formation of a thesis on the print as an object, to elaborate more on its ontology, as something that is birthed, felt, witnessed and exchanged; print is both rudimentary and precise, print here will be seen as an open-ended, experimental- print as gestures, print as monotype. etching as something one can work a drawing through. All printing may involve layers. Some layers are planned, some respond to the layers from back in time.”
Footnotes from artist statement:
“[1] The fact that print might have been experimental to begin with? further need to examine where the need to experiment arose from
[2] Referring to the division of print techniques in school
[3] Smith, Keith A. “Structure of the Visual Book”, pg. 21. Residual Concepts: One way of learning is to carry over what is learned from one process to another.
[4] “Residual concepts are one way to hasten new knowledge, by understanding relationships in a new area by employing familiar concepts.” Pg 21, “Structure of the Visual Book”, Keith Smith
[5] “goal is to keep moving through (the process), repetition that mimics repetition”, from a studio visit with an advisor
[6] Ground in painting employed in print, substrate holds the ground and thus the image
[7] Evolution or expansion of the language surrounding derivation of imagery from kickboxing, circling back to exploring line in its essence
[8] Uncovering the need for art, the recognition of exercising observation and creativity in daily life, more and more mundane
[9] The 3-dimensionality, how the object was sensed, what it felt like when being taken in, what it tasted like in imagination
[10] Painting was done the way I practiced drawing- lines like nets thrown around the space occupied by the object
[11] Feelings, intuition- essay on Ana Mendieta, https://www.theparisreview.org/blog/2019/03/08/ana-mendieta-emotional-artist/
[12] Start of intermediality, transfer of visual data across media
[13] Paint- imagery to objecthood
[14] Recognition of the contingency of being a student here and having access to resources I wouldn’t have otherwise, at this pace and extent
[15] A sculptural act, introduced by the act of densifying and condensing matter during a class with Lan Tuazon
[16] Another way images are derived
[17] As a result of learning paper-making and printing on fabric. Sensing the more physical and material presence, the choice for selection influenced by material rather than image, or image coming after material at instances
[18] Due to material quality, but also a more intuitive sensing and developing that sensitivity that leads to deciding how the object could exist- with or without a image, in an arrangement or accompanied or supported by something else
[19] Precise due to the steps involved, or the planning of layers in an a photographic image, rudimentary due to shedding of some boundaries or edges or borders, rudimentary from how simply a monotype could be conceived and defined, or the look of the raw fabric.
[20]The physical movement involved, the strength of the wrist and the core and the dance of the steps
[21] Depending on if the material or image needs it, the clouding over or blocking, or more lines
[22]Back and forth, a printmedia/collage trait?”