Indian contemporary artist Anni Kumari creates intuitive mandalas inspired by by India’s myriad tribal art and mathematical concepts.
I chose a style of painting that is not quite painterly, both in terms of the way I apply paint and also the way in which I perceive it. I use a lot of blacks – a colour often associated with negativity. In the beginning, even my peers were like “why only black? Are you colour blind? Are you depressed?” But I trusted my instinct and was prepared for the outcome.
Contemporary artist Anni Kumari in her studio.
Please tell us a little about yourself. What brought you to the world of art?
I grew up in Jamshedpur, a multi-cultural industrial town in Jharkhand. By age of four I had already been doodling all over the house. My parents enrolled me in an art programme when I was six and I started to bag prizes in various art competitions at school and elsewhere in the city. But soon afterwards, I got completely absorbed in academics. At age 16, I moved to Delhi for higher studies with an intension to pursue a career in public administration. While studying Politics at Miranda House, Delhi University, I became associated with Spic Macay (Society for the promotion of Indian Classical music, art and culture amongst youth). It was like a re-awakening for me. I applied for their Gurukul Scholarship Scheme and got the opportunity of being mentored by Padmashri Anjolie Ela Menon. And she told me clearly that if I wanted to pursue art seriously, I must attend art school. But as my parents, on whom I was financially dependent, did not approve of this, I had to wait until I could earn and save enough to afford an art school education. After two years, I followed my instinct and enrolled for the BFA programme at the College of Art, Delhi, and with the help of some scholarships, fellowships, and teaching assignments I have been able to sustain my practice.
What is the primary role of an artist? How do you describe yourself in the context of challenging people’s perspectives via your work and art?
In a very broad sense, I think the primary role of an artist is to remain sensitive to life. Because sensitive people observe, learn and evolve despite age, time, space and geography. As a human being, and as an artist, I feel it is a commitment to remain sensitive in whatever situation we may be in.
It is important for me that art becomes an experience in itself rather than a pointer or reflection of something. By creating an immersive, encompassing landscape, my intention is to create a sense of immediacy for the viewer. But it is surely a challenge for people to think of my images as “art”. Many regard them as design, merely patterns or digitally generated images etc.
My works don’t educate the viewer, but simply urge the viewer “to be”. And that sort of freedom is quite challenging for most people. It is no doubt that I love to create a sense of spectacle, but my works are not merely optical illusions. They are very much rooted in my experiences.
Deflection, Contemporary artist Anni Kumari |displayed as part of the show “Mirrored Questions” at Art District XIII|Dimensions variable |Acrylic on canvas | 2019 Image courtesy Art District XIII gallery
How do you deal with the conceptual difficulty and uncertainty of creating work?
I work in a manner wherein my next series of images often emerge out of mistakes, variations or chance discoveries that occurred during the previous ones. This fluid and observation-based way of processing ideas and techniques allow me to enjoy the uncertainties and, in fact, reap dividends!
Is there any topic lately that you would like to be mentored on?
I have begun working with drawings on see-through fabrics like silk, organdy and chiffon. I am experimenting with ways in which I can put them together as an installation piece. It’s a different experience for me to work with fabric and I am learning about their tenacity and overlapping possibilities.
What would you call your style?
Experiential abstraction.
Work-in progress. At some point NOTHING matters, Contemporary artist Anni Kumari | 5X5 feet |Acrylic on canvas | 2019. Image courtesy the artist
Let’s talk about the evolution of your practice over the years. Tell us about your commitment to your current medium.
After I finished my MFA in 2013, I looked back, introspecting on what I had achieved. And I found there were certain aspects wherein I didn’t have enough clarity. Throughout my time at art school I had been infatuated by the abstract art movements, especially Abstract Expressionism, Colourfield and De Stijl. Somehow, I found the figurative and narrative styles of Indian art too intimidating. But I also knew that no matter how committed I might be to the philosophy and practice of abstraction, I wouldn’t achieve anything by simply emulating western traditions. I knew I had to seek answers from my own indigenous traditions. I travelled to Ajanta and Ellora to study the forms firsthand. By 2014, I had received a fellowship from the Ministry of Culture to study the tribal and folk mural traditions of Jharkhand. I found my answers and a great sense of freedom in the Khovar and Sohrai mural traditions of Hazaribagh area in Jharkhand. The geometrical playfulness, animated clarity and vibrancy of these murals had me in awe. My current vocabulary of precise geometrical patterns, rendered with a minimal colour palette, tending towards black and white, began to take shape after I got a National Artist Scholarship from the Lalit Kala Akademi in Delhi.
Despite having dabbled in photography, print-making and videography, I remain committed to painting as a medium. It is the language that I know best. The process of painting slows me down and I really like that.
At some point NOTHING matters, Contemporary artist Anni Kumari |displayed as part of the show “Mirrored Questions” at Art District XIII|5X5 feet |Acrylic on canvas | 2019. Image courtesy Art District XIII gallery.
Let’s talk about your career, or if you prefer artistic journey. What were your biggest learning and hiccups along the way?
As I started out, my biggest challenge was display space. I knew that the true potential of my works could only be realized in large formats. Unfortunately, neither did I have enough studio space nor display space. So I had to create works in parts, imagining how they would look like when put together. Not being able to view all the works simultaneously, while I worked on the individual parts, was a huge challenge. And that compelled me to make a shift from the spontaneous way of working to a more planned approach. It also helped me manage my time better as I have had to continue my studio practice alongside teaching and research projects, gaining complimentary skill without losing focus. I also learnt how to simplify my process by discussing and working with other artists during art residencies.
How does your audience interact and react to your work? What are you looking for when you look at other artists’ work? Which shows, performances and experiences have shaped your own creative process? Who are your maestros?
Most people are intrigued as to what the work is about, the process and the reason for creating the work. At times people come up with their own stories and versions of the possibilities with the work.
When I look at other artists’ work, I look for the way they have handled the material, the conceptual clarity and the way they have been able to assimilate the various aspects into a cohesive whole.
I attended the Kochi-Muziris Biennale in 2016 and was particularly fascinated by Raúl Zurita’s installation, The Sea of pain. My maestros are varied – from Ruth Asawa, Anni Albers, Roni Horn, Bridget Riley, Kiki Smith to Kara Walker – all of whom I admire for different reasons.
Improbable Openings & Blink, Contemporary artist Anni Kumari |displayed as part of the show “Mirrored Questions” at Art District XIII|5X5 feet, set of three round canvas , each dia 1 feet |Acrylic on canvas | 2019 Image courtesy Art District XIII gallery.
What was your first sale? Do you handle the commercials yourself or is it outsourced to a gallery or an agent?
My first sale followed from a juried show in 2016. I was shortlisted as one of the five artists for the Emerging Artist Award presented by Glenfiddich and Bestcollegeart.com.
Gallery Art District XIII handles my commercials.
Think of the biggest professional risk you have taken. What helped you take that risk?
I chose a style of painting that is not quite painterly, both in terms of the way I apply paint and also the way in which I perceive it. I use a lot of blacks – a colour often associated with negativity. In the beginning, even my peers were like “why only black? Are you colour blind? Are you depressed?” But I trusted my instinct and was prepared for the outcome.
What is the best piece of advice you have received? Why was it helpful?
Not really an advice but a remark that has stayed in my mind. Once a viewer, a jeweller by profession remarked, “You see when I look at precious stones, I select those that have ‘water’ in them.”
I think he was referring to the quality of lustrous transparency, and this is something I try to achieve in my works by working in layers through a combination of glossy and matt pigments. This allows me to create a sense of seamless depth.
(detail) “A place to pour all of me”|Displayed as part of STUDIO by Indiaartfair & DLF Avenue| Set of two works, each 5×5 feet| Acrylic on canvas | 2019. Image courtesy contemporary artist Anni Kumari.
Tell us about your studio. What kind of place is it? Could you describe your usual work day in the studio?
Located in a semi-urban setting, my current studio in Delhi is quite spacious, airy and well lit. Most days, I spend quite a lot of time just being there. My usual day starts with drawings or some writing in the sketch book. That helps me get clarity and also plan the day.
I generally work on several pieces at a time, keeping myself surrounded with works-in-progress. I don’t use easels but prefer laying down my works on large tables and work progressively by moving from one corner to the other. In between small breaks, I prepare paints, since I don’t use them straight from the tube or bottle, but often dilute and mix gel mediums, charcoal and other stuff with pigments, stir and store them in small jars for later use. Before I leave, I make sure I clean and de-clutter in preparation for the next day’s work.
Let’s talk about your frameworks, references and process. What inspires you?
A lot of my works are inspired by memories of experiences I had in Tatanagar (Jamshedpur). We often visited the local makeshift circus, magic shows and ‘melas’ (fairs) of all kinds, ranging from books, food, clothing to joyrides. My personal favourite was the one called ‘Disneyland’. It had an unusual entrance, almost like a cave, and one could find all kinds of odd stuff – weird mirrors, stones, masks, games etc. Even the city with its industrial lighting, boilers, chimneys, dumpers and loud buzzers from the factory units, seemed quite animated, playful and spectacular to me. These elements continue to inspire me, although not in an illustrative way.
I am also interested in exploring mathematical concepts of fractals, Fibonacci sequences, probability and number theories. I have been researching on Kolam motifs, a floor drawing tradition from Tamil Nadu, studying how the arrangement of dots forms the basis of each pattern. The process of creating Kolam and its simple improvisational techniques, has in many ways informed my practice.
Audience interacting with the display. “A place to pour all of me “|Displayed as part of STUDIO by IndiaArtfair & DLF Avenue | Set of two works, each 5×5 feet| Acrylic on canvas | 2019. Image courtesy contemporary artist Anni Kumari
Are you more of a studio artist or naturally collaborative by nature? How do you feel about commissions?
I am more of a studio artist.
I have handled two commissioned projects so far: one for the German Embassy in Delhi and the other for the Four Seasons group through Gallery G in Bangalore. Both these projects were quite well managed and there was clear communication about every aspect, so I really felt involved. I think I am quite comfortable with commissions of that kind.
What are you working on now? What’s coming next season?
I am currently working on a set of large-sized, approximately 9×9 feet, works to be displayed at the Kashi Art Gallery as a collateral event during the Kochi Muziris Biennale 2020-2021. These works draw from my experiences of the Ganges in Rishikesh, where I have a studio and I spent some tranquil time last summer studying marks on stones from the riverbed.
I am also working on a set of illustrations planned to be published by the year end.
For enquiries contact: anni.kumari@gmail.com
Before you go – you might like to browse our Artist Interviews. Interviews of artists and outliers on how to be an artist. Contemporary artists on the source of their creative inspiration.