Born and raised in South India, surrounded by stone temples, ancient scriptures, demon masks, and multicoloured gods left a deep impression on digital artist Samyukta Madhu. These experiences are what inspire her work, which explores themes of culture, religion, enlightenment, and awe. She currently lives between Berlin and India, and her work uses CGI bodies and environments to tell stories about futurism and the female experience. “In my live exhibitions, I play with the idea of scale, often presenting my work to the public at large sizes. I’m particularly interested in observing how the audience experiences bodies that are presented as objects of power,” says Samyukta, who, inspired by colonial-era photographs of Tamil women across India and Sri Lanka, brings her stunning series, Reincarnations: Ghosts of a South Asian Past to Chennai.
Excerpts from our conversation:
Please tell us more about Reincarnations: Ghosts of a South Asian Past. How and when was it conceived?
Reincarnations: Ghosts of a South Asian Past is a series of digital artworks reinterpreting faces from a lost South Asian past. The series was inspired by old colonial-era photographs of Tamil women across India and Sri Lanka. Using CGI characters, the artworks try to imagine what these women would look like in the future. The artworks are all digital, created entirely across multiple 3D programs. It was conceived when I was trying to find a balance between my Indian and Western identities. I wanted to create artwork that felt progressive but traditional at the same time.
You have used Tamil scripts on the pictures. Any particular reason behind it? What does the script convey?
Being from Chennai, I wanted to create something that felt futuristic while paying homage to my roots. I cannot actually write or read Tamil, but I grew up seeing Tamil letters, and graffiti all over the city. So in a way, the letters are somewhat embedded in my subconscious. The letters I use in the artworks are not actually Tamil — they are abstract letters simply inspired by Tamil. In a way, they represent my ties to my culture, but also my inability to understand parts of it.
In this series, the women are all coloured dark — any specific reason for that too?
There is a lack of representation of all skin tones across the Indian media. Even in 2024, mainstream media and beauty standards don’t really provide a platform to dark-skinned people. They are never the main characters of a story, and colourism is still rampant in our country. Colourism is so deep rooted in our society. Growing up, I remember that the children with darker skin used to be bullied in school. Darker brides are less sought after than the fairer ones. We see ads on TV for whitening creams, even today. Colonisation left a very ugly scar on us and has taught us that darker skin is not beautiful. In a country where the majority of our population actually has darker skin tones, I wanted to create artwork that celebrates their beauty.
Are the women in the artwork imagined or do they resemble real women?
The women in the artworks are imagined. However, they are based on old photographs of women from precolonial India. The characters have been re-imagined with futuristic jewellery, tattoos and other elements that envision what the women in the photographs could have looked like in an alternate future, where colonisation never happened.
The women in the artwork are adorned with very interesting jewellery and patterns, please tell us more about that…
In an alternate future where colonisation never happened, I imagine that we would still stay true to our original culture. We would still wear traditional jewellery and clothing. However, these elements would have evolved with technology and science. That’s why I’ve re-imagined traditional jewellery as inspired by science fiction, cybernetics and technology.
Please elaborate on The Warrior, The Priestess, The Scribe, The Regent, The Guardian, The Wife, Kolam West, Kolam East.
Each artwork represents a different facet of womanhood. Each character is given a title so the audience can envision their roles in this alternate universe.
The Priestess is an authority in the temple. Her skin is inspired by wet black stone (from a lingam) and we see a chalk kolam on her chest.
The Wife and The Guardian are both shown in vast expanses of water. They are opposites that mirror each other. The Wife represents the hearth, the home, bloodlines and sacrifice. The golden kolam on her chest is a grand piece of jewellery but also play with idea of a woman’s body as a doorway.
The Guardian patrols the borders of her village as she fetches water in a solid brass urn. Although her body is exposed, she is adorned with sharp pieces of armor. She reminds us to protect our bodies against those who would hurt us.
The Regent is adorned with heavy jewellery and a single blue gem. She reminds us that we are in charge of our wealth.
The Warrior sports abstract scriptures written across her face and neck. She is adorned with spikes and aggressive jewellery that represents her ability to cause real damage and pain.
Molten gold Tamil inscriptions arise from The Scholar’s skin. They rise up from her body as she recites holy incantations and chants.
Lastly, since you are from Chennai, how have you seen the city evolve when it comes to art?
To be honest, I have lived away from Chennai for over 10 years. I return every winter to see my family. So I can’t speak too much as to how things have progressed. What I can say is that people generally have more of an interest in art, culture and fashion — and people are always interested in approaching new experiences.
Prints are priced at INR 12,000 onwards.
September 1-9, 11 am to 7.30 pm.
At Collage, Poombukar Nagar.
Email: rupam@newindianexpress.com
X: @rupsjain