ARTISTS
Bhagyashree Suthar: Suspended Simulacra
A series of spherical domes ambulate a nephroid globe, elsewhere the eye is invited to trail the ascent of a helical cone. Constructed as intricate alter-worlds, it is tempting to read the works on view at Bhagyashree Suthar鈥檚 upcoming solo presentation Suspended Simulacra as abstract landscapes. Yet the surface assembly of recursive forms, belying an eye towards precision and symmetry, is punctured by the appearance of depth鈥攕hapes are spliced to reveal their inner worlds, planar incisions infuse an optic kineticism that refuses the petrification of represented landscapes. Evoking a complex liveness that balances eternal forms of geometry with the ephemeral textures of the built, this suite of works are orbital explorations of time and sight, or their entanglements as temporal perception.
Suthar contemplates varying scales of time鈥攖he utopic futurism of modernist architecture exemplified through the metrics of mass and volume, and the retrotopic survey of personal memory that is occluded, visceral. Architectural forms have often looked to the organic world for illumination on order, symmetry, craft. Even when asserting a negation of the natural world, built structures are draped in deep time as life and its elements wilfully erupt鈥攖he earth and sky propel entropy, people cast their memories on stone and cement. Suthar betrays a knowledge of this鈥攖hat formal divisions are matters of appearance, and these must be prodded, whether through synthesis or discordance of forms, to arrive at a revelation.
The evanescent and the monumental overlap in Suthar鈥檚 consciousness, which is interested in the pursuit of an essential knowability, that which is imperceptible but must be evoked. In the paintings, there is an intent to dissolve the surface and to attend to the strata below. Having laboured at this complexity, Suthar seeks to reproduce its emanation. What emerges from this intuitive process are dense fractals, often monochromatic and multimodal. The works follow a structure that is usually totemic or polar, evoking the sense of witnessing a celestial occurrence such as the Pillars of Creation. The famed image depicting towers of interstellar clouds is a vital reference鈥攖he creation of new stars is accompanied by the erosion caused by the light of nearby stars; life and degeneration conjoin. At other times, the works conjure formations of the kaleidoscope, an infinitely multiplied sequence. The solidity of iconography is appended with an open network of references as vast as the impossible objects drawn by MC Escher, the buildings of Zaha Hadid, the imagined libraries and gardens of Jorge Luis Borges, and the Warburgian pathosformel or 鈥減sychic batteries鈥� of emotion.
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A series of spherical domes ambulate a nephroid globe, elsewhere the eye is invited to trail the ascent of a helical cone. Constructed as intricate alter-worlds, it is tempting to read the works on view at Bhagyashree Suthar鈥檚 upcoming solo presentation Suspended Simulacra as abstract landscapes. Yet the surface assembly of recursive forms, belying an eye towards precision and symmetry, is punctured by the appearance of depth鈥攕hapes are spliced to reveal their inner worlds, planar incisions infuse an optic kineticism that refuses the petrification of represented landscapes. Evoking a complex liveness that balances eternal forms of geometry with the ephemeral textures of the built, this suite of works are orbital explorations of time and sight, or their entanglements as temporal perception.
Suthar contemplates varying scales of time鈥攖he utopic futurism of modernist architecture exemplified through the metrics of mass and volume, and the retrotopic survey of personal memory that is occluded, visceral. Architectural forms have often looked to the organic world for illumination on order, symmetry, craft. Even when asserting a negation of the natural world, built structures are draped in deep time as life and its elements wilfully erupt鈥攖he earth and sky propel entropy, people cast their memories on stone and cement. Suthar betrays a knowledge of this鈥攖hat formal divisions are matters of appearance, and these must be prodded, whether through synthesis or discordance of forms, to arrive at a revelation.
The evanescent and the monumental overlap in Suthar鈥檚 consciousness, which is interested in the pursuit of an essential knowability, that which is imperceptible but must be evoked. In the paintings, there is an intent to dissolve the surface and to attend to the strata below. Having laboured at this complexity, Suthar seeks to reproduce its emanation. What emerges from this intuitive process are dense fractals, often monochromatic and multimodal. The works follow a structure that is usually totemic or polar, evoking the sense of witnessing a celestial occurrence such as the Pillars of Creation. The famed image depicting towers of interstellar clouds is a vital reference鈥攖he creation of new stars is accompanied by the erosion caused by the light of nearby stars; life and degeneration conjoin. At other times, the works conjure formations of the kaleidoscope, an infinitely multiplied sequence. The solidity of iconography is appended with an open network of references as vast as the impossible objects drawn by MC Escher, the buildings of Zaha Hadid, the imagined libraries and gardens of Jorge Luis Borges, and the Warburgian pathosformel or 鈥減sychic batteries鈥� of emotion.
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