Contemporary artist Dimple Shah straddles various genres of art, from performance to printmaking, and distils the social, political, spiritual and the personal to arrive at a greater understanding of life
An artist is a creator, builder, researcher, documenter, initiator and influencer. The primary role of an artist is to bring in humanistic values and build a healthy society.
Take us to the beginning of your journey in art.
My journey in art was inscribed much before my realisation and understanding of my inclination towards it. During my childhood days I used to draw and paint, and that was one of my most favourite things. But I never gave serious thought to making a career out of it. Since I am from the Gujarati bania community, I came across trading, stock market, accounting and business more often and that influenced my decision to take commerce during graduation.
After graduation, my journey into art and performance evolved from my interest in traditional theatre which, in fact, began during my college days in 1995. I worked with independent theatre groups like Ranga Shankara and had an opportunity to work with personalities like Arundhati Nag and B Jayshree. At that point of time, while I wanted to choose theatre as a career I was drawn to visual art. Anyway, the urge to work and explore theatre was alive in me and I took up some challenging roles to polish my skills. I participated in major plays like Tipu Sultan, Surya Shikari and Jasma Uddan to name a few. Then I completed a diploma in painting from Ken School of Art in 1998 and, during that period, my interest in printmaking developed. In 2001, I completed my post diploma in printmaking in Baroda. The urge to study more made me apply for various scholarships. Luckily I was granted the Commonwealth Award and I experienced the bliss of a nine months residency at Glasgow Print Studio, Scotland, in 2006.
I outline my art practice as multidisciplinary. As my art practice has evolved through various media like performance, printmaking, painting, and installation and many others, I don’t draw a definite line. I use methods that suit my concept. In recent years my focus has been to blend these mediums of art into an interdisciplinary language.
I am trying to build a community of performance artists. I also like to involve myself in community-based public projects. I have done more than fifty performances across the world on various socio-political, ecological and historical concerns with relevance to cities and women’s issues. For the past few years, my work has focussed on identifying the “self” both at a macro and micro level.
I have had various residencies in the last 18 years and it has been very enriching. Some prominent residencies were the The Art House UK, Villa Welbreta, Germany, Afiriperforma International Residency Lagos, Glasgow Print Studio UK, Space Studio, Baroda, Printmakers Studio Mumbai and Baroda and Karnataka Lalit Kala Academy, Bangalore.
I have been honoured with prestigious Awards like the ROSL Residency Grant UK 2019, India Foundation for the Arts grant for project 560, 2014 , Afiriperforma International Residency in Lagos, Nigeria, First Gold Prix in the 7th Engraving Biennale, Versailles 2009, National Award, Lalit Kala Academy, Government of India 2008, Commonwealth Arts & Crafts Award, UK 2005, and Junior Fellowship, HRD, Government Of India. I also received the Millennium Award instituted by Shresta Art Resources, Bangalore 2000 and Bombay Art Society 2000.
I have participated in various International exhibitions and Print Biennials and Triennial that include the VIII International Print Triennial Sofia, Bulgaria 2019, Haugesund International Relief Print Festival, the 5th Bangkok Triennale International Print and Drawing exhibition 2018, Dada Fest for Live Experiments in Liverpool and Massachusetts, the 9th Versailles Engraving Biennale, Bharat Bhavan Print Biennalle, NGMA, Mumbai 2013 and many more. I was also a jury member for the 2009 Commonwealth Foundation, Asian Region.
How do you describe yourself in the context of challenging people’s perspectives via your work?
All my work can be seen as a process of distillation which, metaphorically, can be applied to socio-political, ecological, environmental, psychological, and philosophical questions of life and humanity. As an individual in a social structure, I have to navigate through socio-political upheavals and develop perspicacity on human issues and, at the same time, cope with emotive responses of alienation, insecurity and fear on a personal level. Catharsis, purification, purging, healing, filtration, condensation and extraction of the pure/self are key elements in my works. War, migration crimes and women issues dominate my creative landscape. All these thoughts and ideas go through a process of distillation, via psychological or physical action.
My journey as an artist develops from philosophical questions and perspectives of the self which becomes more complex when one is exposed to the reality of the prevailing social structure. For instance, the first-hand experience of the Godhra communal riots in 2002, when even children were brutally killed and women were tortured and maimed, drastically affected my thinking process, and the emotive response was Saffron Border which I performed in 2003 at the Kanoria Art Centre and the Bangalore Kala Mela festival.
There was a transition from this point to go inward and to introspect on my roots rather than merely reacting to the events emotionally. The process gradually happened during the Glasgow residency. I felt a hollowness and turned to my roots for answers. I did elaborate research for my solo show Katharsis in Forbidden Zones, which was about the nine alchemical metals effecting social and other aspects of life. The body of work was presented through different media like drawing, painting, prints, sculptural installation and performance video.
Now I have elaborated my research to practically grow food myself as part of my experiments and process for my performance. Today we are moving away from nature. My intention is to make the connection stronger.
Visual art to performance art – what were your motivations for moving from one to the next?
As an artist I have never differentiated these mediums as separate trajectories. I developed my art practice by organically blending all these mediums. Some ideas need two dimensional paintings and some concepts require performances as expression. I build upon a multidisciplinary language of expressions.
What inspires you? Take us through your process and continuous frameworks of reference.
I enjoy making art, the process and getting the result in the form of experiences. My motivation is my search for the self, the society, and the universe itself – which is difficult in one life time. I feel life is process of evolution so that we can arrive at the truth, and there are several paths to it. I search through art. It is my spiritual journey. In one frame I become a poet, a saint, the universe, and this keeps on shifting till I understand.
For me several elements influence my work. Our culture has introduced me to rituals and customs. Over the years I have developed a deep understanding of many elements, from Indian alchemy to grandma’s medicinal knowledge. I look into local festivals and rituals and I find it very inspiring. I try to incorporate my understanding in my performances, in order to bring in elements of cleaning and healing in a metaphorical language, juxtaposing layers of rituals and processes to make it experiential for my audience.
What is the primary role of an artist in society?
Artist role can vary from social activism to making a creative work to bring about change in society. Artists have been part of major revolutions and art activism. Artists view society with a sensitive eye and several perspectives, and try to analyse things in a humanistic framework. An artist is a creator, builder, researcher, documenter, initiator and influencer. The primary role of an artist is to bring in humanistic values and build a healthy society.
Tell us about your UK residency? What was the application process like?
I had my first residency in UK 13 years ago and it was such a learning process. It changed my direction of thinking and helped me build my language of expression, which is still helping my art practice. So when I came across this recent residency, I wanted to apply and catch up with the latest, reconnect with art community in the UK. The process of application was very professional and had questions on projects that I wanted to do. The application goes through a process of initial scrutiny and is followed by an interview after which they finalise.
Take us through your arrival and first day of orientation
This residency was well planned and very well conceived. The schedule and programme was sent to me well in advance. It had details of what we would do, where we would go, when we will have the exhibition and when we would see the contemporary art scene in London. All tickets were booked in advance for London Frieze and all the other events we were supposed to attend. The curator took us to ICA, briefing us about the space and programmes and then in the evening we were taken to the Royal Academy to attend an opera. It was a great experience. The orientation was positive, eventful and productive.
Tell us about the place. What was a typical day like?
The place where we had the residency was a small town in England. We were provided with modern facilities. They had a beautiful studio space. There was also a print studio I could use 24/7. The facilities included good silkscreen, two etching presses, exposing and laser cut machines. My typical day involved making good Indian chai and breakfast and then be in the studio by 9.30 am. I was given a large studio space to work in, which really helped me build a huge body of work. I used the lab space for experimentation and work on cyanotypes. I also prepared for my performance work.
Some days I used to keep time for outdoor work like collecting plants and being with nature. On other days we did photoshoots for photographic performance stills. For this, I collaborated with Cole Ndelu, a photographer, and one more artist in residency.
During the start of the residency we made presentations about our art practices. We discussed the work we had planned and had several meetings with the curator. Also there was a program officer who always helped in providing materials and other help. This town was a small one, so after 5 pm most shops were closed but the pub and bar were quite active in nights. Food was not an issue. During the residency we had two exhibitions, one for Manchester Contemporary where I exhibited my work and performed. During the end of our residency we had a final show. The show was on till December 21, 2019.
How did you balance life and learning in these new surroundings amongst new people?
There is cultural difference and ways of working are different. But since I have been to Europe several times it was not difficult to adapt. While it was busy, we had time to soak in the sights and sensations of the city, including the local art scene. It was very well balanced
Tell us about the hurdles and disappointments. What moved and inspired you? What was the best part of this experience?
There was one point when I felt it was too silent. But I took it as an advantage as it helped me introspect and give time to my research. I don’t think I was disappointed in any way.
What do you look for in other artists’ work? Which shows, performances and experiences shaped your creative process? Who are your maestros? Whose journey would you want to read about?
My earliest inspirations were existentialist German artists like Joseph Beuys and Anselm Kiefer, artists from the Dada period and Man Ray, some works by Marina Abramovic and many more from the postmodern period. I usually stand as an observer when I see other artists’ work, without judging their work. Performance art has to have the ability to move an audience and make it experiential. I rarely find such performances in contemporary art. I don’t follow anyone.
You have spent a lot of time amongst artists in flow. What did you observe?
I have had the opportunity to meet artists from different cultures and places. My observation is that we learn many things from other cultures. Even the performance language develops from the place they belong to. They have a different vocabulary. I feel in performance art we need to build our own language rather than follow the West. We all are evolving and observation is one of the most important elements to grow as an artist.
Tell us about the final show.
The final show of the season along with Cole Nedelu, called A Laboratory for Survival, was curated by Sunil Shah. It opened on October 30. Part of my work in the show was around the concept ‘The Alchemist Lab – Performing Nature’ (Morphological Study of Alchemical Body and Nature). The idea was to study how the alchemical process can be used to reconcile the body and the mind and understand the self in the context of nature and ecology.
What advice would you give an artist who is starting out?
Working hard is the only mantra. I believe being honest in your expression and working hard is the key to success.
Tell us about what you learnt in UK.
Interesting aspects which I observed and learnt was their approach to art and art practice and their refined professionalism. The way they present their work makes an impact, even if you feel the work is not that strong. The organisational skills and programming of events are good too.
Take us through your process.
I worked for this project for two months and I worked with multiple mediums. I started by discovering the town, walking, exploring green zones, collecting plants, doing research about locally grown fruits, vegetables etc. That was the first stage of my work. The second was to work in a place, and with my body. So, I did a series of photographic performance stills. In the third I reworked text drawing and photographs to create a body of cyanotype works. The fourth was planning and executing a live performance during the opening of the show. The whole show was presented in the form of a lab with framed works and live performances with installation.
Tell us about your own personal evolution and your ongoing commitment to arts.
This project was an extension of my work and this residency gave me enough time and space to develop my concept. Although I was very clear about my project, I was open to new possibilities in the new space. The landscape and the light in England had an immense influence on my photographic performance works.
Usually when you apply for a residency, you just have a rough idea of the place you are going to. When you are actually in that working space, it provides many possibilities. Some things are not as you had planned but you find new ways to work with. My process was quite organic and gradually I developed keeping in mind the architectural and natural landscape of the place, my collection of plants, drawings and text which I wrote. Everything synchronised at the end of the residency. I learnt a lot. I had never done much of non-toxic printmaking. I had not worked much with an exposing machine. I learnt that and the results were different when you do in machines and natural light. This experience has definitely helped me develop and learn new techniques. It has equally helped me in building new connections, and reconnecting with artists and friends. I am more empowered with possibilities and opportunities and it definitely is big plus for my career.
How do you balance life and art?
As an artist it is a difficult journey. Balance is crucial. One needs money to create art. I work as a guest lecturer in a university. But I don’t compromise on my art and creative work. I always find sources and funding which can support my practice In India. One cannot sell much of printmaking work and performance artists don’t get paid well. Gradually, we have learnt to point out to people who invite us to events that performance art is not free and we need to be paid like any other artist. I have built a position where people invite me for workshops and pay for it. I am happy that the art fraternity is also changing and they are recognising performance art.
I am happy that after 18 years of struggle I have made a mark and people invite me for both national and international festivals and events. Still I believe in improving myself. Life is all about learning and growing, both in depth and stature. So my journey continues. I measure my success not in commercial terms but how much recognition my work gets. Money will follow.
What are you working on now? What’s coming next season?
The Alchemist Lab performing Nature – my present project is about the connectionof the self to Nature’s lab… how one can manifest, grow, survive and eternalise the self through nature. My future project will be an elaborate research on this subject with a body of works in prints, performance and installation art. There are several projects I am working on nationally and internationally. I am trying to bring a print show with several artists and attend few international performance events. I am working on new collaborations and exchange programs and also preparing for a solo show.
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