Viraj Khanna’s zen like practice keeps him detached from labels, and by extension limitations.
Attention, is what I think deepens my entire process; attention is imperative to personality.
Portrait courtesy Viraj Khanna.
Having access to a vast library of magazines and encyclopaedias courtesy my mother, I began deconstructing and re-assembling visuals everyday. Images in books tell their own story, and you will be surprised by what you can narrate by putting together different images.
How did your tryst with art begin?
Growing up surrounded by art and fashion, I always felt inclined towards something creative, and personal. Having no formal training in fine arts, I began trying to learn things myself, through books and online courses. And that’s how I stumbled upon creating art through collages. Having access to a vast library of magazines and encyclopaedias courtesy my mother, I began deconstructing and re-assembling visuals everyday. Images in books tell their own story, and you will be surprised by what you can narrate by putting together different images.
Let’s talk about your motivations and philosophy.
Currently I hand cut and create my collages, since it immerses you in the entire process. It forces you to be very detailed, very present and puts you in the zone. It is possible to do a lot of what I am doing digitally, but that destroys my purpose. It’s a very different feeling to create something with your own hands. We humans have an ingrained bias towards creating things with our hands, and it brings a deep sense of accomplishment to be able to master any craft that requires our full attention. Attention, is what I think deepens my entire process; attention is imperative to personality.
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How do you deal with the conceptual difficulty and uncertainty of creating new work?
I think when you begin any new journey in a creative sphere, you are doubtful and confused whether you can keep making newer and newer things. I am sure most artists are stumped by this feeling. What I do know for a fact is that creativity is not inborn. Well, yes, aesthetic is shaped by your environment, but not creativity. The more you work on creativity, the more creative you become. It is similar to a muscle. And I have experienced this first hand, if I feel stumped or blocked, I try moving to different locations, cut out more external noise and push myself harder. Sometimes I just sit on an idea, and then, it flows. And this process seems to be working well, as of now.
What would you call your style?
I don’t want to attach labels, and by extension limitations, to something so soon. It would be premature, as I have only recently begun to explore this media. That said, I am sure to have more clarity in the coming years.
It is almost impossible to be working on something in the office and to completely forget about it when you get home. I think robots are designed to do that. So I don’t fight the urge to compartmentalise my life.
What were you working on when the lockdown was announced? How you balancing life and work at home during this period?
When the lockdown was announced, I was totally immersed in the new AK-OK collection (RTW label for Anamika Khanna) which we were planning to launch soon. With the sudden announcement of the lockdown, I think it was only natural for me to direct those creative energies to another field and somehow it ended up being collage art.
I have always believed that there is no such thing as work-life balance, there is always some spillage. It is almost impossible to be working on something in the office and to completely forget about it when you get home. I think robots are designed to do that. So I don’t fight the urge to compartmentalise my life. If I want to work on something at home, I do that, and if I have to complete personal work in the office, then I don’t limit myself. As long as I know I am making the most of my time then its okay. I know I will do well as long as I keep pushing myself everyday. That is the most important for me.
Which shows, performances, and experiences have shaped your own creative process? Who are your maestros?
The work of German artist Annegret Soltau is very moving. If you study her work, you will notice that she incorporates photos of herself in her art as a method to fully express herself. The idea is tantalising; using distorted images of herself to express her own views. It can be a very tricky thing to do, as images of yourself are generally not something novel to your own eye, and hence less attractive. The more look at something, the less attractive it becomes; owing to lesser dopamine response in the brain and so on. It is a thin line to tread, and she does it beautifully. She sews the pictures together with thread to express trauma! As it is I am very inclined to threads….
I have a couple of rules before entering my studio like no cellphones, no laptops, cannot leave before a minimum of two hours. These rules help me treat the space as sacred, something reverent.
Tell us about your studio? Could you describe your usual workday.
I have a terrace studio, surrounded by glass on two sides; it is almost like a Zen centre. My brother’s sewing machine, a few fashion mannequins and my mother’s vast library are constantly in my visual field. I am sure they have some influence over my work but I cannot be specific about this as of now. I have a couple of rules before entering my studio like no cellphones, no laptops, cannot leave before a minimum of two hours. These rules help me treat the space as sacred, something reverent. As soon as I enter, my brain is tuned to focus and get into the ‘flow’ as I know this is all I can do for at least the next two hours. These sessions sometimes end up lasting the entire day.
All images courtesy Viraj Khanna.
For enquiries contact: viraj@anamikakhanna.in
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