Contemporary artist Parag Tandel

Contemporary artist Parag Tandel derives inspiration from native sources and strives to decolonize art practices, starting with his own coastal village in Mumbai.

My childhood and rooted landscape is connected to water bodies and estuaries, I began to wonder: Can this be art?; How can I materialise this into tangible forms?; What can be my art? What do I want to talk about? What is my current story? Do I have a story? And why is Indian art flooded with human figures and western ideologies?

Contemporary artist Parag Tandel

 

Featured image: Installation view. Chronicle. Ground Floor. 2016. Image courtesy TARQ.

 

 

Please tell us a little about yourself, what brought you to the world of art and how did you start?

I come from a fishermen family in Thane, a central suburb of Mumbai. My grandfather was Tandel (captain) of the ship and an international trader. During the British regime, while his business involved selling boats and dry fish, he used to smuggle gold and other unauthorised things. This dirty money was used for the freedom struggle movement, to pay stipends to freedom fighters. After him, my parents continued the dry fish business till their sixties.

On the other hand, I was not good at studies and my parents encouraged me to draw at a young age. I never thought of being an artist but began my education at Sir J.J School of Art, Mumbai and went on to M.S.U, Baroda, for post graduate studies. I am the only artist in my family.

Being an artist is varied from keeping yourself isolated from social issues to being socially conscious about what is going on around you. To me, an artist is one who has a different perspective from the usual. I like to bring people together through social engagement. In the recent years, my perspective has shifted, wherein I find my artwork is shaped by the people who engage and connect with it. While an artist’s studio is seen as an isolated space, I tend to find ways to work with people anyhow.

 

 

How do you deal with the conceptual difficulty and uncertainty of creating work?

There is always conceptual difficulty in the form of a constant argument and query inside my head, but research and experiencing the work helps greatly. We talk to people, look for proof in documents and oral history. There are narratives in the background which connect the dots and artists have some kind of power to see beyond what is not visible to the eye. However, there are times when you fail and these always serve as good learning experiences. Constantly, when I fail, I go back and start from scratch. My past failures have occurred due to the materials not being readily available but now these materials are the dots that are slowly coming together. I have been searching for such materials for the past twenty years but it also depends on how you see a notion or matter.

 

Installation view. Chronicle. Contemporary artist Parag Tandel. First floor. 2016. Image courtesy TARQ.

 

Presently, I am thinking about how we can decolonize our art practices.

 

Is there any topic lately that you would like to be mentored on?

Presently, I am thinking about how we can decolonize our art practices. I am aware that it is not easy, but I am happy to have reached a new starting point. Coastal communities were the first to be affected by colonisation and gradually while researching, I found out about the influence of ancient knowledge of Mumbai’s natives.

 

What would you call your style?

I am a socially engaged art practitioner, collaborator and researcher.

 

Installation view. वणा्ंध (Colour-Blind). Fragile Kinships. Contemporary artist Parag Tandel. Embassy of Switzerland. 2019. Image courtesy TARQ. 

 

My childhood and rooted landscape is connected to water bodies and estuaries, I began to wonder: Can this be art?; How can I materialise this into tangible forms?; What can be my art? What do I want to talk about? What is my current story? Do I have a story? And why is Indian art flooded with human figures and western ideologies?

 

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?  

After completing my art education, I started my studio practice in Thane. The first thing I did was to unlearn my school education. Though these two schools taught me how to see what is around me, it did not benefit me anymore. While I learnt “what is art”, I found the school education system western in its approach and began to think of my childhood. My childhood and rooted landscape is connected to water bodies and estuaries, I began to wonder: Can this be art?; How can I materialise this into tangible forms?; What can be my art? What do I want to talk about? What is my current story? Do I have a story? And why is Indian art flooded with human figures and western ideologies?

Since 2018, I have been thinking about what art can be and I have come closer to myself and Mumbai. Now my questions are: Why do I want to be an artist? What do you mean by artist? How can I archive these questions in my art practice?

My past and current research comprises of forty-two villages of fisher-folks living in and around Mumbai, speaking about their waning sounds in this megacity called Mumbai, Thane and Navi Mumbai. I have slowly begun to think about the Aboriginal people in India.

 

Let’s talk about the evolution of your practice over the years. Tell us about your commitment to your current medium.

I have never worked in single matter or substance, my medium has always changed according to the conceptual requirements.

Initially, it was tough being a sculptor after art school, you need space to work. Luckily, Mumbai being my native village, my family has a lot of small homes that I used as my studio spaces. Later, I shifted into an industrial estate as it filled the sculptural requirements. Being an artist means being willing to multi-task and do a little bit of everything. I am steadily absorbing what is right and works for my practice. Nobody teaches you worldliness in school; you have to learn on your own from those around you or by taking risks. I find that my language skill has grown stronger; I have started looking at my work in different mediums and my focus has grown to include other aboriginal communities in India. The artistic horizon always expands as you dig deeper.

The economic collapse of 2005-2008 was a bad hiccup, while I was not a part of that cycle, it served as a good lesson for me. I did feel bad for artists and buyer friends who were greatly affected by it.

 

Exhibition view. Chronicle. Contemporary artist Parag Tandel. First floor. 2016. Image courtesy TARQ.

 

Recently, a new artist friend visited my studio and commented, “You are from a different world”.

 

Which shows, performances and experiences have shaped your own creative process? 

Sculpture is difficult when it gets conceptualised. My work is multi-layered with history and current situations of the community connected to the water-world, so I have to talk about my work. I find that audiences like my aesthetic as it possesses a reflection of the notions related to water bodies. People enjoy new narratives.

Recently, a new artist friend visited my studio and commented, “You are from a different world”, and I am merely uncovering reality instead of ‘exotifying’ my community and its problems.

 

Imagine you are not in this world but there is a conversation going on about your art practice, you should have a dialogue which lasts longer than your imagery.

 

I cannot comment on any artists’ work, as it is about the journey of following her or him. I am a slow absorber and it takes time for me to understand one’s perspective.
 As an art practitioner, it is important to question why you want to be an artist. You can do anything you want in this field, but you should seriously know why as it forms a deeper relationship of inquiry for yourself. Imagine you are not in this world but there is a conversation going on about your art practice, you should have a dialogue which lasts longer than your imagery.

A few years ago, there was an exhibition, curated by historian and curator, Naman Ahuja, titled, India & The World: A History in Nine Stories; it definitely helped bring me nearer to myself.

 

 

What was your first sale? Do you handle the commercials yourself or is it outsourced to a gallery/agent?

My first sale was a work from my final year post graduate display. The buyer asked me what the price of the sculpture was, to which I replied, “Eight thousand”. He went to ask what the material and making cost was as well; I said, “If you want to buy materials, I will buy them for you. You can keep those raw materials as art”. He laughed and said “I like you, so I am buying your sculpture because of your attitude”.

Now, all my commercials are handled by TARQ Art Gallery, Mumbai.

 

I have always challenged my past works.

 

Think of the biggest professional risk you’ve taken. What helped you take that risk?

To me, there is no ‘biggest risk’, risk is risk. Choosing to be a full time artist is a risk in itself. I have self-learned skills required to survive in the Indian art market. It is a rollercoaster of learning what people are interested in buying and why, in these times of over-consumption. The question that arises is, what you can contribute to keep your art practice going and sustain yourself. I find that constant self-education is necessary, you have to perform in every spheroidal degree. I know if I do not take risks, I will not learn new things. I am a very intuitive experimenter and great risk-taker. I have always challenged my past works.

 

Autopolisphilia 19. 6 x 8.3 inches. Ink on Archival paper. Contemporary artist Parag Tandel. 2017. Image courtesy TARQ.

 

What is the best piece of advice you’ve received? Why was it helpful?

Good work always sells. An artist should always aim to deliver good work. However, the theory of ‘good’ depends on personal experience. I am practical and survive on my studio practice; I don’t do any other things for survival.

 

My studio is a beautiful place, sometimes I just go and sit for hours. I describe it as a dusty spaceship.

 

Tell us about your studio, what kind of place is it? Could you describe your usual workday in the studio?

My studio is in Vitawa Koliwada (fishing village) within an industrial estate, located near the Thane river creek and mangrove reserve. The environment really helps my art practice. My usual workday begins at 8:00 am. Till 1:00pm, I work on sculpture and later, I move to drawings, research, reading, writing and other things. My studio is a beautiful place, sometimes I just go and sit for hours. I describe it as a dusty spaceship. There is another studio, where my mother’s home, here I do my drawings and non-dust involved work. The mangrove forest and creek area is yet another space I move around by boat along with my fishermen friends.

 

Parag Tandel. वणा्ंध (Colour-Blind) – 3. 14 x 14 x 21.5 inches. Contemporary artist Parag Tandel. Polyester thread, cotton thread and stainless steel. 2018. Image courtesy TARQ.

 

How do you balance the contradicting motivations: commercial v/s creative? How does your interaction with a curator, gallery or client evolve from the (brief) initial interface, to the working-involvement-relationship?

I believe in making things easier for all, I do not like to confuse people. I am a simple guy and do not like to make things complex. There are no dualities as such in my practice. I follow the course and am flexible if need be. The theory of ‘good’ differs from person to person and it depends on the context as well. I just follow my intuition, which is not about duality and balance but about the gut feeling or feeling in your bones.

I began my journey with Pundole Art Gallery, Mumbai in 2006, with my first public art project and first solo project. I enjoyed working with them and being Bombay Parsis, they were familiar with my roots. They were my first mentors after school and we worked well together. They represented my work from 2006 to 2014. Soon after, I shifted to TARQ, Mumbai. TARQ was a new art gallery at the time and I liked the way they work. The gallery director, Hena Kapadia, takes the time to sit with me, understand my work, visit my studio and always makes it a point to know my work thoroughly. If you ask her about each different project of mine, she will give you a detailed walkthrough of my art practice.

Both galleries have made the effort to understand me and where I am from, which is very important to me. One day I went to Hena’s office and told her about my idea to start the Son Koli (Fisherfolk) community’s Pop-up Museum. She said,”तु नहं करेगा तो कौन करेगा ?” (If you don’t pursue this, then who will?)

Artist always expects freedom and encouragement to express their ideas. 
The curator’s questions an important role in my art practice. I appreciate curators who challenge my ongoing process, mediums and safe zones. I am open minded and constantly process my practice parallel to changes happening in the realm. I like new young Indian curators and their strong opinions and clear approach.

 

Installation view. Chronicle. Contemporary artist Parag Tandel. Ground floor. 2016. Image courtesy TARQ.

 

Let’s talk about your frameworks, references and process. What inspires you?  

My artistic practice emerges from what I encounter and see around me, from my immediate surroundings and the scenery I am familiar with. I often draw inspiration from and make use of simple, quotidian objects from my childhood. My work highlights the changes that have taken place over the last few decades within my community. I am a descendant of a tribe that consisted the original inhabitants of Greater Mumbai. The process of my work showcases the tale of nature’s evolution and survival as a result of Mumbai’s unparalleled and often unplanned growth. The materials and forms of everyday symbols I grew up with, manifest in my work. My work stems from the idea of using found objects, to reuse them, and then construct fresh entities. I inquire into the history as well as contemporary times of my community. I have grown up listening to chronicles of the past, which, for me, are almost fable-like. These fables are beginning to turn into myth, they are transforming into layers similar to the residue structures in our minds. For me, it is not only about breaking into a meticulous spot in my inventive practice but also using a method that fills in the gaps.

 

Installation view. Chronicle. Contemporary artist Parag Tandel. First floor. 2016. Image courtesy TARQ.

 

Are you more of a studio artist or naturally collaborative by nature? How do you feel about commissions?

It is always good and resourceful to exchange experiences, information and ideas, hence I am collaborative by nature. In a socially engaged realm, it is difficult to work with people since many do not open up directly and artists also do not want constantly engage on a daily basis. I enjoy the studio practice extensively as well. Commissions are good; they are good learning opportunities as well as funding for large experimental projects.

 

What are you working on now? What’s coming next season? 

I completed Cycle 2 Pop-Up Museum with Tandel Fund of Archives, an initiative started by my wife and me to build awareness around the Koli community, last week. Currently, I am working on an upcoming solo project at TARQ, Mumbai, regarding Cycle- 3 & Cycle- 4 Pop-Up Museum highlighting the fisher folk community of Khardanda Fishing Village and Worli village and a few group exhibitions.

 

Installation view. Chronicle. Contemporary artist Parag Tandel. Ground Floor. 2016. Image courtesy TARQ.

 

For enquiries contact Vanessa Vaz: vanessa [at] tarq [dot] in

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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.