Tanya Goel's art finds a rare harmony in all the chaos of urban living, both virtual and digital. Her inspiration is as diverse as its manifestation, and you wonder what goes behind that interesting juxtaposition of colour, cacophony, bits and bytes that create a continuum reflective of contemporary living. 'I want the eye to rest on nothing,' she says, deconstructing her practice for us.
What informs your art?
Looking, and looking again at moments within everyday encounters in the city.
You’ve always made your pigments from a diverse array of materials including charcoal, aluminum, concrete and even glass. What inspired you to do something like this when you began your practice?
Along with an interest in the surface of all things; objects, roads, buildings, and materials that make up our everyday lives, I am very curious about what colour is, and how these materials/ surfaces inform our perception of colour, in different conditions of light. My practice is almost alchemical, where I experiment with the chemical/found and mysterious properties of organic, inorganic/industrial or geological material.
I think a curiosity to know what happens when you mix a with b or place x next to y, or break things down to understand their origin—that is probably what gets me going.
Your paintings acknowledge digital screens, what made you take that route?
Screens, [like paintings], carry simulated infinite space, where images are constructed and displayed in isolation, or in an overlapping continuum.
What are your thoughts on the movement of making art more accessible?
The act of looking is perhaps most secondary to existing, and most accessible and I want the viewer to look, and I'd like to think my practice enables the act of looking.
What do you want the audience to take away from your show?
I want the viewer to be pause longer, look more, and maybe just enjoy the different relationships of colour.
Sydney Biennale (2018)
India Art fair (2018)
Here are some thoughts that informed this body of work, called This, the Sublime and its Double
Meaning in language is constructed through a series of repetitions [consistency/ systems]
Screens, (like paintings), carry simulated infinite space, where images are constructed and displayed in isolation, or in an overlapping continuum.
An image exists in repetition
This body of work stems from a continued fascination with the 'makings of an image'—where an image lies, what is an image, where it starts and where it ends. How meaning is made, etc [through the act of looking and existing in cities].
In cities, physical space is perceived within and outside the construction of the concrete ground, [for lack of a better word and not wanting to use the word architecture!]
I'm interested in recording pauses of movement between x, y, z [situations]. Intersection, overlappings, as time passes.
I want the eye to rest on nothing, [similar to the fragmented experience of living in the post industrial—digital cities]
In my work, the image is not constant—because of the addition, subtraction of light/colour and space. Prolonged focus, and delayed looking creates a moment of pause.
Flux/surplus of images negate the image/meaning itself, leaving a cacophony of residual images in the mind .
Material: a lot of the pigments were collected from houses, [broken down for reconstruction], that were built in the 1950s in Delhi.
Text Hansika Lohani Mehtani
L-R: Red on pink [for Albers], Reflective Layer II
Courtesy of Nature Morte