Suparna Mondal’s new show ‘Nexus: The Metropolitan Experience’ unveils in Bengaluru

The first glimpse of Suparna Mondal’s artworks might fill you with a sense of dystopia. The second glimpse, with a curiosity about futurism. But the third will surely make you wonder – do the lines passing across the canvas intend to depict division, or to depict the interconnectedness among all things seemingly divided?

Taking you on a reflective journey where the architecture of cities converges with the architecture of the mind, Suparna is currently showcasing her solo exhibition Nexus: The Metropolitan Experience at Gallery Time and Space in Bengaluru. The abstract pieces feature the recurring layering of grids and diagonal lines that create a dynamic sense of perspective, almost as if the viewer is peering into a multi-dimensional space or a fragmented architectural landscape. Using materials such as iron, stainless steel and mosaic, the artist has created 21 paintings and two mixed-media installations for the exhibition. She opens up to us about her creative process, and all we can say after the conversation is, if you’re not one to ‘get’ abstract art, this exhibition might be a good reason to begin your journey of understanding it.

The architectural elements in your paintings evoke a cityscape, perhaps commenting on the interconnectedness and chaos of modern life. What motivates you to portray urban life with such complexity?

I see the city as a reflection of the brain. In life, the way you imagine things to be or would like things to be, it might not always turn out that way. And in a city, you can’t really see the intersection of roads and alleys when you’re driving through them, but you can see it from a bird's-eye view. This is one perspective I try to replicate in my works.

The use of straight lines and rigid structures can make your paintings seem dystopian. More so because you are trying to portray a layered reality of the urban world, have you ever thought of introducing contrasting elements to the structured paintings?

The feelings that these works might evoke—such as a sense of distraught—are valid. I’m not trying to depict something in a positive or negative light. Sure, I could depict something in a softer way, but I choose to highlight my subject—the chaos and complexity of the city—the way I see it. I’m trying to depict the real world, where most people live in areas surrounded by buildings.

We noticed bursts of warm tones in your cool-toned paintings and vice versa. What does that signify?

Today, you see a similar kind of architecture in almost every metropolitan city. However, I’ve noticed that structures in more affluent areas use elements that are soothing; this is depicted by the warm tones. The less affluent areas of a city often make use of concrete and tin, which I’ve depicted using cool tones. Both these architectural characters come together in my work to show the character of India. Sometimes, I also use different tones to depict the time of day.

Each of your paintings suggests your fascination for representing objects on a three-dimensional axis. In your everyday life, how differently do you observe objects compared to a non-artist?

Wherever I go, I observe everything around me keenly. Each artist has their own subject – I am fascinated by the city. I feel a spectrum of emotions when I’m walking through a city. Some of the changes happening in the city make me happy, some upset me. Particularly, I like to capture the way that light falls and shadows are cast on buildings – I use this as inspiration for my work.

Since your art is mostly non-representational, would you rather have your audience engage with it more emotionally or intellectually?

I don’t necessarily want viewers to intellectualise my work too much. I’d like for the paintings’ themes of chaos to come through and for them to relate to this perspective of the city. This is why I like to translate elements in my work into 3D rather than 2D. When we’re living in a city, we often tend to forget about our immediate surroundings. I want viewers to think about their own city more deeply… to situate themselves within it.

What’s next for you?

I’m hoping to work on some more installations. I’ve been working on a large-scale mosaic piece, which I’ve almost completed. I want to work with more materials that are commonly found in the city and expand my search for materials. I also want to experiment with incorporating the sounds of the city—such as traffic noises and factory sounds—and somehow use them in my installations. That is something I am really looking forward to.

Entry Free. Till December 1, 11 am onwards. Gallery Time and Space, Lavelle Road.

X: @MallikPrattusa
Email: prattusa@newindianexpress.com