golden high flow acrylics

Indigo Thumbprint

Last October, I met with a professor at University of Wisconsin in Madison. We discussed my work and what he said changed my entire artistic practice. He said my work was substantial, but I needed to dig deeper to find more meaning. He mentioned I was so close to being there and that would take my work to the next level.

I tried to do just that from there on out. I created the series Mishap of Collision and was thinking about the meaning throughout making each monotype. This in return changed how the layers of ink interacted with each other on the paper. I was teaching pre school at the time and had a really tough Friday afternoon one day. Remembering that feeling and sentiment, one of my prints the next day had a deep dark black layer on top. Before the fall I might have just said that was chance and not planning out my work. During that series, my process changed and that black layer was intentional. One could see (and I think feel) what my Friday afternoon was like with those three year olds. I continued to remember those fleeting moments from that job and poured them into those prints (instead of my students).

After that series, I was given the chance to completely slow down my entire process because I had unlimited time in India to create. I adopted a practice of starting some prints with thumbnails in mind, but also staying true to my spontaneous methods. After a few were underway, I took a step back and really thought about the direction they were going in. The way Inside the Road came together is how I want to continue my practice. I found a theme that emerged which was the road and then really thought about what that could mean and how I was going to interpret it. I think it helped my audience in India understand the abstract work a little bit better and also took the prints/paintings to a new level.

Now back in America creating a new body of paintings has come underway for a show at Christopher Martins. I kept my same process of using a brayer with Golden High Flow Acrylics on primed canvas, which will then be stretched. I knew I liked the indigo accent I was using from my series in India, but I hadn’t bought a new bottle of paint yet. So, instead of pouring a heavy line in motion and letting it drip, I brought back the oval shapes that are so prominent in my monotypes. I carried this through in each of the paintings and Indigo Thumbprint was unveiled.  Finding a theme this way has been exciting, but also challenging in some ways and has improved my practice.

Indigo Thumbprint is being installed on June 26th at Christopher Martins with a public reception on August 6th. The show will be up through September so plenty of time to see it!

Open Studios at Chhaap

Before I could even fully comprehend, it was my last day at Chhaap. This also meant it was the day of my open studios. I split up my work between Baroda and Ahmadabad so there would be different work for the open studios as well as the solo show at the gallery. The day before in the afternoon Yogesh (the peon at Chhaap) and myself hung the entire show. We worked together with ideas and created something that I was truly proud of. Yogesh is pretty amazing. He does literally everything from documenting work, to bringing you chai, to printing an entire edition and of course being the best assistant while printing. I need someone like that to come back to America with me!

Open studios took place in two intervals. One in the morning and then again in the evening. The middle of the day is way too hot so we knew no one would come. The morning was filled with all of my relatives. They came from Bombay, Ahmadabad and even Kutch especially to support me. I truly felt loved. The evening was also filled with various characters. This included: professors, other artists, students, friends, and even a lovely textile designer. At one point there wasn’t even room to move. I am not one of those people who make art just for myself. I love explaining my process and showing people my water-based inks. I almost think that is equally rewarding as making the actual prints.

Yogesh took down the show in about ten minutes and I was off to finish up my trip in Ahmadabad! But before I could leave, I had to give an interview on the phone. I wasn’t sure if I should speak English or Gujarati, but since he was asking questions in English that is the same way I responded. At the end of it I told Kavita: “I have no idea if he understood everything I said, but I explained in detail!” I was published in two articles in Baroda and they got the jist of it that’s for sure.