YAMINI NAYAR

Yamini Nayar chooses the image of the ouroboros—a snake biting its own tail, which symbolizes the cyclical renewal of life, death and rebirth—as a metaphor for her own creative process. Guided by the knowledge of her ‘hand’, the artist builds materially-invested, often life-size assemblages using ubiquitously available materials such as paper, plaster, studio detritus and printed ephemera. During this cumulative process of building, taking apart, ‘risking ruin’ and burrowing into, ideas emerge intuitively, often springing from the subconscious. Once recognised, Nayar then clarifies and enriches what is coming to the fore, tapping into her own bodies of research such as Alchemy and Myth. These assemblages are built for the camera apparatus, which not only gives permanence to their continuously shifting gestalt, but also serves as the photographic ‘eye’.

Departing from Nayar’s previous concerns with modernist architecture’s singularity and it’s preoccupation with ‘the line’, as exemplified in such works as Chrysalis (2013), this new body of work privileges organic, more natural forms to suggest the feminine, the ornamental, the body and Eros. Completely built by hand, Nayar’s work questions the fundamental shift in our relationship to the environment as it emerged in the Renaissance when architectural drawing became the primary site of exploration, distancing concept from execution, thus putting into play our extractive relationship to the environment.

In Feeding the Silkworm (2024), for example, shapes are cut from board and individually painted in hues of mainly brown and green, with an orange surface placed more centrally. Differently sized and collaged over time, these shapes are individually active but together form a dynamic thrust which, combined with their rough materiality, create a tension with the camera’s compression and stilling. It is in this friction that a reference to Alchemy and Myth emerges.