ARCHANA VISHWAKARMA

UNDERGRADUATE // PAINTING

Artworks

JOURNEY
JOURNEY

OIL COLOR ON JUTE & CLAY 36"x36"

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JOURNEY
JOURNEY

OIL COLOR ON JUTE & CLAY 36"x36"

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 आश्रय
आश्रय

OIL COLOR ON JUTE & CLAY 36"x36"

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 आश्रय
आश्रय

OIL COLOR ON JUTE & CLAY 36"x36"

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गृहिणी
गृहिणी

OIL COLOR ON JUTE & CLAY 36"x36"

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गृहिणी
गृहिणी

OIL COLOR ON JUTE & CLAY 36"x36"

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THE KNOWN STRANGERS
THE KNOWN STRANGERS

REVERSE PAINTING ON ACRYLIC SHEET 8"x11" EACH

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THE KNOWN STRANGERS
THE KNOWN STRANGERS

REVERSE PAINTING ON ACRYLIC SHEET 8"x11" EACH

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GOLPO
GOLPO

ACRYLIC ON ACRYLIC SHEET 24"x29"

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GOLPO
GOLPO

ACRYLIC ON ACRYLIC SHEET 24"x29"

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Artist's Statement :

My journey with rural life and the fragments that I observe and portray in my chosen space is directly projecting some questions about the lifestyle, habits, movements and gestures that I observe in my current space. We are all observers. With time everything is changing, well as we know change is the only constant, but what about the primitive and minimalistic habits those are eloping. What I am today, the particular way I observe and deal with reality is due to the given circumstances that are bygone and are dealt with. We are changing, so are our habits with these changes - nothing has remained stagnant, it is well said that the species that do not have the capacity to adapt with the given environment that can’t sustain, will eventually not survive. As humans didn’t always have the knowledge of language, but it is a developed sense that gradually has been accommodated for the use of communication. Visual arts have a theory according to my understanding i.e.  the sense of sight is much more developed than the sense of language. In my artworks I intend to subjectify the rural figurines, motion, emotion, gesture and the minimalist habits through the process of reverse painting on acrylic sheet/glass. My motive or the main ideology behind the figurative gestures are the rapidly grasping result of globalization. The connection that is duly spreading in rural life, in a manner where all the primitive techniques that I portray are deserting. The rapid use of the newest technology is gradually changing the world. According to historical accounts, the beginning of reverse painting in the 18th century was driven by the Chinese and the European artist, further the spread of reverse painting made an impact on the Maharajas from the south where they motivated the use of reverse in court paintings. The initial technique that was used in Tanjore reverse paintings moved me, the use of breathing space in my paintings makes a difference in perception, while the play of foreground and the background deals with the foreseeing of a subjective motive. The layers that subjectify the figurative surrounding creates a variation in the individualistic approach of activity. The minimalist reality of rural figures that I intend to collide in a transparent sheet, where I anticipate the conservation of the concealed rural activity which is deserting due to global modification and transaction, hence the idea behind the reverse is releasing the true nature of reality with foreseeing transparency in infinite perceptions.