Drawing has always remained an essential part of my practice.
Needless to mention it is one of the fundamental aspects of
artistic practices. I have often responded to linear gird as
designs, reflecting elements of abstract drawings. An exposure
to indigenous functional structures, common in semi rural
settlements made me consider them as potent sources of abstract
sculptural linear designs. Moreover local materials like bamboo,
wood that are widely used to produce these local structures are
material for sculpture too. Hence I started to look for more
forms like these to work on for structural designs that are
derived from multiple ethnographic objects like fish traps,
temporary bamboo and wooden poles over ponds, inner
structure made of bamboo for traditional clay idols, pandals etc.
To me the logic of construction of these objects become the
process of production of my forms that are composed by
combining multiple compatible formal planes, logic of makings,
simultaneously to indicate and negate the sources of the forms.
This is primarily to embark upon abstract, non-objection forms
composed of numerous overlapping lines that at the same time
begin to appear as blue prints of architectural formats,
ethnographic objects, translations of diagrams into material etc.
The scale of these composed structures is important in the sense
a reduction or an enlargement of the references, mostly used as a
take- off points remove the composition from recognizable
formats to acquire the status of sculpture design. My practice
often moves from objects to drawing/ diagrams and vice versa.
Thus the sculptures lead to drawings and definitely the drawings
to sculptures. Though there is a connection between the forms
and the drawings, each grows into self contained independent
compositions. Currently I am looking into the possibilities of
bringing in material as metal and produce them by casting and
welding.