Installations In Situ
This artwork has been installed at the BMW plant in Chennai, Tamil Nadu
Installed at BMW, Chennai
Radiant Symmetries relates to the humanistic and the technological, to the dizzying power of speed and the spirit that drives it. The atomisation of liquids – which manifests as a key element in Radiant Symmetries – plays an important role in the technical world as well as in the natural world (as with the breaking of waves and white caps). The central image can be read both as solar, and as a derivation from the "thoughtforms" developed by the Theosophical Society and Annie Besant in Chennai (which may well be some of the first abstract forms developed in India). The technological sublime is a playfield to which Parvathi returns time and again.
Installed at BMW, Chennai
Listening To Light
Listening to Light plays with perceptions of how human beings receive and transmit thoughts, ideas, emotions. Growth and transformation are human experiences that are linked with opening our brain so that it may 'hear' new possibilities that result in new experiences. Listening is a powerful way of accessing the raw materials with which to create something innovative and powerful. Listening to Light has references to deeper modalities, to languages beyond that of words… to sounds, to coding, and deeper still to deeper structures.
Drawing is a Verb
Drawing is one of the most ancient of artforms, perhaps even the oldest known to man, an inheritance from our forefathers who drew a line on the ground with a stick to mark a boundary, then embellished the walls of the caves in which they dwelled. Parvathi Nayar takes on this tradition of draughtsmanship to create deeply intricate works on wooden panels with graphite. The infinite detailing is controlled by a minimalist sensibility and presented not just as a finished drawing product – or "noun"- but importantly, as process – or "verb".
The deliberate use of wood and the transparent box frames enhance the solidity and tactility of the drawing as a three-dimensional entity; the unforgiving nature of the surface, which prevents easy erasure, offers the possibilities of seeing process, each act of mark-making unconcealed and revealed on the picture plane.
Parvathi plays with scale in the work; her interests are not in the "size" but in how the varying scales of the work implicate the body of the viewer – approaching a very small-scale work upclose in a narrow corridor, for example, and then turning around to view a largescale version of the same image at the opposite end of the corridor.
Working closely with designer Soon Kin, Parvathi places her drawings in an architectural construct away from the walls of the gallery. The entire space of the show is the "installation", not just the drawings - and the viewers are part of the construct of the show, as they move and place themselves in varying positions and points to view the work.
Drawing becomes an act of creating, a verb, an initiator of motion and a controller of its cessation.