Interactions Series of Paintings: Secondary Purple
Title: Secondary Purple
Dimensions: 122cm x 122cm (without frame), 160cm x 160cm (with frame)
Media: Acrylic on Canvas
An unplanned journey- an upbringing in the UN International community in war-torn Afghanistan, becoming an Architect, Artist, Fashion and Jewellery designer has been Lakshmi’s path into the world of design.
A psychological immersion into the realms of memories, culture, community, personal and relative histories, her work explores the intersection of Art, Science and Philosophy, the precept that every creation or invention is built on existing concepts and discoveries made through the ages. It is the overlay of the new on the foundations of the old, the dichotomy of the dependence and independence of an idea, thought or creation. It reflects the evolution of the myriad influences that interact with our sensory spectrum of sight, smell, sound, feeling and thought.
Mathematicians have grappled with shapes spending years to find ways and means to draw them, calculate their areas and volumes; connect these patterns to those seen in nature and use their discoveries in numerous fields benefiting the artist in turn. Examples of this would be Newton and Leibniz’s simultaneously development of a whole new branch of mathematics dealing with change, unaware of the fact that Indian mathematician Bhaskaracharya’s findings predated theirs by five centuries. Without all this knowledge and their dependence on discoveries made before and after them by numerous scientists, philosophers and artists, none of the design, communication systems and technology that we see today would exist. This also is a historic model of synchronicity of thought where there is a relative similarity and style in the creations of inventors and designers at any given point in time as they have been presented with similar knowledge and learning. Italian Renaissance architect Filippo Brunelleschi was the first to master perspective. He developed the concepts behind the adherence of linear perspective to a vanishing point in the early fifteenth century; the mathematics of art, and the foundation for all artists of the future. Similarly, the fashion designer creates trend setting collections that owes to the creators of spinning, weaving, printing and the Architect to the developers of masonry, maths and structural systems. Each craft influences the other and owes its existence to the numerous processes and contributions of all manner of peoples, their cultures and traditions. There is a link between the past and present to the future.
As an artist Lakshmi creates with what feels intuitive, but with an acute awareness and due respect to the knowledge of it being rooted in what she has learnt and imbibed from her own experiences of interactions, travel and reading. Her emphasis is on cross cultural influences that break down barriers of communication, that brings art to life, that one can move in and around, can be understood and interacted with. Just as the writer gathers information from many sources, organizes and edits before presenting it in a distinctive voice, her art finds context in the present, is a non-literal and unexpected interpretation of ideas and philosophies. This stems from the integration of research-based layers of visual information used effectively to communicate a message. It may take time to unravel its levels of hidden secrets and metaphors which aim to stir curiosity and to make the discovery all the more gratifying for the viewer once revealed.
Art cannot be expected to always speak for itself without explanation, much like viewing a beautiful book cover and making an assumption about its contents. Its value lies in the artist’s expression and thoughts in the making of it. To get rid of any ambiguity she uses every medium available to make explicit with explanatory animations, videos and written material, her thoughts and interpretations. The intent is to draw viewers to understand a point of view and take away with them their own interpretation, as with all belief systems.
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