The Florence Biennale featured Indian artist Vinita Dasgupta’s work Metamorphosis that dwells on the man-nature dichotomy, for the overarching theme of Light and Darkness.
The relationship between the woman and the tree as nurturers and protectors has perhaps not been emphasized enough in our urban settings. Delhi-based Bengali artist, Vinita Dasgupta brings the focus and relation between the two into her artistic expression at the Florence Biennale.
“The essence of this project is to explore the theme of metamorphosis, illustrating the transformation from a natural environment to a man-made one,” says Dasgupta whose work was created simulating a 3D landscape, using rolled-up canvases, a technique she has developed over the years of her artistic practice. “This project reflects my long-standing inclination towards monumental, sculptural forms and aims to bridge the gap between nature and human intervention. The theme I have chosen is metamorphosis, which means the transition from one state to another, I intend to highlight the delicate balance and on-going tension between nature and human development through this project,” she adds.
Artwork Featured: Metamorphosis
Taking inspiration from pre-existing masters, like floral pattern artist William Morris, Antoni Gaudi’s architectural designs and Hundertwasser’s use of vibrant colours and natural shapes encourages the exploration of colour in Dasgupta’s pieces. “I was also inspired by Peter Doig’s work—his abstract depiction of landscapes informs my technique of blending natural and abstract elements,” she affirms.
Dasgupta has been working with mixed media art which has provided her a dynamic platform for unfettered creativity. It has offered artists and enthusiasts boundless avenues for self-expression. “I have used a few different types of media while experimenting with this project. I use a lot of local craft and folk art from parts of India and paint them on the canvas which does the storytelling. I paint and print folk art and texts on canvas cloth. Then I roll them in different sizes, after which thousands of rolls are cut and pasted on the board to create a story. I have used acrylic paint for its vibrant hues and textured effects, repurposed materials like cut coke tins to imbue artworks with a sense of sustainability and visual intrigue, and unconventional pairings like canvas and acetate to juxtapose contrasting textures rarely seen together. Additionally, experimenting with inks to stain surfaces adds depth and nuance to the composition,” shares Dasgupta who embraces the contemporary nature of her art practice with enthusiasm and dedication. She melds her Bengali heritage and cultural inspirations with transnational iconography and ever-evolving more in-depth artistic endeavours. From provoking global pop imagery and diverse iconographic scans, historic art expressions to current concerns, the world visual language that Dasgupta evokes is rich and evocative.
Artist Vinita Dasgupta at the Florence Biennale with viewers
Metamorphosis conveys the emotions of a woman merging with the forest her lush head of hair branching into the leaves of the tree, while it also has aspects of the city subtly indicated through her 3-D collage technique. “What fascinates me about any artistic medium is that it can pull the viewer out of a logic and common world, and place them within a space that is more alive,” she avers. In a sense giving herself the freedom to contemplate both nature and womankind in a single breath, Dasgupta brings to the artwork multiple layers of interpretation.
This style of artwork has long been celebrated as an inventive way to break barriers in the field. It is often praised for its unconstrained exploration into various forms and modes such as drawing, sculpture or textiles through blending different artistic mediums to create collages. In other words, mixing multiple types of media opens up exciting new avenues for artists to explore their vision!
Cover Image: Metamorphosis
Georgina is an independent critic-curator with 18 years of experience in the field of Indian art and culture. She blurs the lines of documentation, theory and praxis by involving herself in visual art projects. Besides writing on immersive art for STIRworld, she is a regular contributor for The Hindu, MASH Mag and Architectural Digest.
