Contemporary artist Shivani Aggarwal believes that the execution must mirror the concept with as much fidelity as possible.
I can’t say that I am committed to any particular medium. I would rather say that I am committed to the concept which directs the medium, whether it is wood, terracotta, painting or photography.
How do i knit.
Please tell us a little about yourself, what brought you to the world of art and how did you start?
I was born and raised in Delhi. I completed my art education at the College of Art, New Delhi, and a few years later I was awarded the Charles Wallace Scholarship to do a masters degree in painting at the Wimbledon School, London. My understanding and approach to art developed tremendously during my time in Wimbledon as I was out of my comfort zone in every way. I was exposed to a global culture and art which helped me question and understand my own. I became aware of where I came from, what my concerns were and my impressions and feelings, which were fuelling my art after which I had a solo presentation at the gallery in Wimbledon School in 2004.
I have had four solo exhibitions after my stay in London, including one at Rohtas Gallery in Lahore, Pakistan, in Mumbai and Delhi with Gallery Studio Art. I also did a solo project at the India Art fair in 2013.
I have exhibited in groups with many galleries in India, Singapore, Dubai, Canada, and Belgium. My work and my practice have been written about in the Sculpture Magazine, USA, in 2019 and in many other publications.
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?
The primary role of an artist is to challenge the viewer’s mind and thought process. It is about surprising the viewer with thoughts, feelings and sensations that only the artist can create and express to make the viewer aware of their own.
Over the past few years I have been involved with creating, enlarging, bending and twisting common everyday objects that I find around myself. The purpose was to comment on the dysfunctional lives that we live, through these objects. The tools had lost their purpose and had become completely useless. Scissors no longer cut the threads they were entangled in; the hammer was twisted and could shape nothing. These ‘useless’ tools or instruments are absurd symbols of gentle pathos and humour. They are symbolic of functionality, whether personal, political, societal… and it is being constantly challenged, bent, changed, broken or twisted to fit our frame of convenience and greed. While doing so, we change the very instrument itself making it dysfunctional.
The works question everything that is bent and twisted for our convenience, whether these are laws, people, relationships or functioning of systems.
How do you deal with the conceptual difficulty and uncertainty of creating work?
I, sometimes, find it challenging to strike a balance between concept and execution. Many times the idea that engulfs me does not look exciting after execution. An artwork has to be a perfect amalgamation of concept and execution. I have to give up or reconsider or change the artwork so that it comes together in terms of expression and execution of the concept.
I must admit that I enjoy the fact that making an artwork can be uncertain, as there is a sense of adventure in it and the result can lead to new discoveries.
Safety pin.
Is there any topic lately that you would like to be mentored on?
I like to develop new skills that inform and help my practice. Lately, I have been crocheting and embroidering with threads on paper and canvas. I need to develop this skill in a more vivid or profound way. Also, I am developing my skill with wood.
What would you call your style?
My style is personal and has references, influences and reflections of the society and the culture I come from. It is from the personal perspective that I take the role of a voice, which questions norms, ideas, lives, people and relationships through my art.
My art is poetic in the sense that it deals with the viewer’s imagination. It challenges preconceived notions and perspectives in the visual form. My images are surreal and that is how poetry is reflected visually.
Let’s talk about the evolution of your practice over the years. Tell us about your commitment to your current medium.
Over the years I have been evolving in terms of not only the concept but also in the expression of it in various mediums. Earlier the medium was expressing a concept, over the years the concept has begun choosing the medium.
I have worked in a variety of media like photography, video, painting, sculpture, textiles and have a fair understanding of them. So, I let the concept guide me how to express it best. The work has to be a complete harmony of the concept and the material used. If either of it is weak the work will not reach its standing. Over the years my art practice has become more lucid in terms of expressing the thought or idea behind the work.
I can’t say that I am committed to any particular medium. I would rather say that I am committed to the concept which directs the medium, whether it is wood, terracotta, painting or photography.
How does your audience interact and react to your work? Who are your maestros?
I am intrigued many times by the audience as they surprise me by asking many questions and reinterpreting the works in their own way, which is what I enjoy. An artwork is open to the viewer’s interpretation and it changes meaning. It’s open-ended.
I was deeply moved by one exhibition I saw of the artist Olaffur Elliason in London at the Tate Modern recently. It was a lesson to be introduced to his process and how his environment sensitised him to make the wonderful art that he does.
Think of the biggest professional risk you have taken. What helped you take that risk?
I would like to call it the biggest creative risk. The biggest one I have taken was to delve into sculpture without knowing anything about it as I am trained as a painter.
I had a very strong urge to create large monumental sculptural installations when I was creating small delicate paintings. I listened to myself and with the help of a sculptor friend understood and created my first sculptural installation called How do I knit, which was part of my solo project with the India Art Fair 2013 with Gallery Studio Art. There was no stopping for me after that. I opened myself to a completely new world of installation and creative experiences. I continue to surprise myself by exploring possibilities of installation art.
What is the best piece of advice you have received?
The best piece of advice I have received is to work without thinking of anything else, as everything else will follow.
Tell us about your studio, what kind of place is it? Could you describe your usual work day in the studio?
My normal work day starts early. I like to work early in the morning as the mind is fresh. I spend my time in the studio, painting, sculpting, writing, and ideating. It is a place where all my ideas come to life. My studio is like my laboratory where I experiment with objects, thoughts, feelings and create art.
I have two workspaces: one for painting, a space which is intimate, and the other for sculpting, as sculpture requires more space and assistants.
I work between a purely intimate space and a space, which is rather functional or detached, and is just used for finishing or completing a sculpture.
How do you resolve the conflict between the commercial and the creative? How does your interaction with a curator, gallery or client evolve?
I view any contradiction or duality that I confront as problems. I try to deal with them most pragmatically, striking a balance between the opposites. Sometimes, I like to work on briefs given by curators or while working on a commission or a project, as it brings out images and conceptual facets that I had been ignoring or were not aware of, and the results have been most interesting as new works, media, images and concepts have come together in the process. I like the fact that I can attain creative flexibility while dealing with a client or a curator without losing my essence or style. It implores me to think differently, which is a challenge and an exploration.
Let’s talk about your frameworks, references and process. What inspires you?
I am inspired by the things and objects that I see every day and connect with. I bring them to my studio to do drawings of and that is when my mind starts thinking, connecting and formulating ideas that can become future works. Alternatively, many times I start by writing ideas down and doing drawings supporting the ideas, and look for objects that best express them.
I am deeply inspired by Sufi poetry, whether it is Kabir, Rumi or Bulleh shah. The meaningful metaphoric poetic representations of the weaver by Kabi deeply move and connect me with the mystical. I often refer to poetry and installation art for inspiration and references.
I also love to view works of Louise Bourgeoise, Claes Oldenberg, Ollafur Elliason, Mona Hatoum and many artists from South Asia as I feel their culture is truly ingrained in their practice.
What are you working on now? What’s coming next season?
I am working on my solo exhibition now, which is based on the idea of the things that we desire and the emptiness that these desires bring, with Gallery Studio Art. I also have a couple of group shows in Delhi, Bangalore and other places. I am also working towards showcasing my work in Australia, where the show is based on the theme of home, adornment and craft as a ritual.
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.
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