It is hard to capture the character of a city in today’s globalised world. But on Vinita Karim’s canvas, cities talk. Of their outer and inner architecture. Known for her vividly coloured cityscapes, where dreams merge into reality, Karim describes herself as a sponge. Daughter of an IFS officer, Karim got an opportunity to absorb different cultures and traditions and it reflects seamlessly in her works.
Vinita Karim
A diploma holder in Fine Arts from Gerlesborg Art Institute in Stockholm and an MFA from University of Philippines in Manila, the 55-year-old artist also dabbles in sculptures and installations. Vinita recently returned to the Capital with an exhibition of her abstract landscapes. Called “Magical Musings”, in her 34 paintings you can feel the contours of Padma river and the ghats of Varanasi.
Excerpts:
How did Magical Musings take shape?
This is my 25th solo exhibition and I was very keen to share a wide range of my art work with Delhites, since my last exhibition here was in 2008. I am exhibiting paintings ranging from 2013 to 2018. I started collaborative work with artisans in Bangladesh who helped me to layer my paintings with a new element, embroidery, which is only visible when you come very close to painting. It was a challenge to incorporate it seamlessly with the rest of the painting. I also exhibited my signature egg sculptures which I started making in 2011. These eggs touch me very deeply, because they represent birth and creation. I started collecting ostrich eggs in Egypt in the nineties and since then, have used many materials to replicate this very symbolic ovoid shape. I have sculpted them in wood and the ones displayed at this exhibition are made out of fibreglass. I am also deeply interested in found objects, because they carry their own history as well as geography, which add yet more layers to the object itself and I found a pair of old wooden lions, about 50 years old, beautifully crafted in wood, in an old antique shop in Chandni Chowk which I layered with cities and town complete with houses and boats and brimming lives. Since all these forms, both 2D and 3D are expressions of my meandering mind, from where all the magic emerges, it seemed apt to title this exhibition, Magical Musings.
Vinita Karim’s “The Sacred City”
Tell us about your process. How do your abstract cityscapes come into being?
The fact that I have lived in over 15 cities across continents is one of the primary reasons that my work has moved away from the figurative to the abstract into its own genre of abstract landscape.
Actually, I don't think one can put everything into a box into a certain "type" or "category". Specially, since the joy that I find in art has a lot to do with exploration. At heart, I am a colourist, so if I were to describe my process, it begins with which colours my soul sings to on a particular day. As these different colours take on shapes, I build my fantasy ports and cities and embed my sources and symbols into them. These cities emerge layer by layer relying on instinct and experience. When it comes to my art, I would almost classify myself as obsessive-compulsive, because of the level of detail as well as layers which are embedded in my work.
I am unabashedly in love with my materials, be it gold or silver leaf, or the silken threads which weave intricate tapestries into my work, often on a smooth Belgian linen. Besides this love of materials, another interesting fact is that I do not sketch beforehand. Each painting is its own grand adventure with many trials and tribulations.
How do you stay away from making exact replicas of cities and yet make each work distinct?
I draw my inspiration from different cities, but I am not interested in replicating the images of any city. I think cameras are much better for that purpose. My work is built on imaginary cities, however you may see hints of many actual places in them: the blue of the Mediterranean Sea from Alexandria and Tripoli, the hulls of the boats from Padma river, Dhaka, the minarets of mosques from Istanbul, the flags flying on top of temples in Varanasi… These are the little details which emerge into my canvases like signifier of experiences, sensations and memories making each artwork unique.
Is there space for humans in these cityscapes?
My cityscapes are often busy, bustling, full of activity, teeming with humanity. You do not see the humans but you know that they are there.
Tell us the story behind “The Sacred City”
The Sacred City is based on my experience of Varanasi. I visited Varanasi a few years ago on a art residency and had the privilege to paint on a verandah overlooking the ghats. It was truly an immemorial experience which has remained etched on my mind. Varanasi is an artist’s inspiration, wherever you look, it touches your soul. It is a city of deep sacredness where you connect to greater forces and it is also a city where you say your goodbyes to loved ones. It is this dichotomy which makes this place so powerful.
And your inspirations...
I came across the work of Austrian artist Hunderwasser in the nineties in Munich. I was mesmerised by his use of colour and detail. I learned not to be afraid of using colours in an unconventional way from him. I love Ram Kumar’s mono-chromatic canvases which hint of places visited. His use of space is wonderful.
How does travel inform your art?
My life is about packing and unpacking my suitcases. I carry a canvas pad, my paints and brushes, a spatula knife wherever I go. This gives me the freedom to be ready to capture any new experiences wherever I go. Travel painting is fun.
However, on a fundamental level, my art is informed by life in different countries and cultures. Due to my unique situation of being immersed in different cultures, I have been able to absorb and appropriate as well as filter out various socio and cultural influences. My ceaseless travelling and art-making across nations and cultures, have defined me as a cultural nomad.
(The exhibition is on at Gallerie Ganesha, New Delhi till January 15)
