Two Women Artists
“The joy starts with going to a park, garden, into fields, a forest, a beach or even to local markets in search of plants, the raw material for making paper. In reality all paper is based on plants. After an extensive procedure: to cut, to peel, to boil, to rinse, to bleach, to dye, to beat, to cast, to spray, to dry – for hours and hours – the plant fibers become paper, Paperart. …. I experimented with many of them such as wood, iron, granite, sandstone, earth, bark, leaves, fabric, straw, bamboo, even with plastic foil. What stimulates my work is always my environment.”
Ingrid Pitzer, 2015
Ingrid has carved out a space for herself in contemporary art with her original, visually delightful, unfailingly stimulating and impeccably crafted paperart works. Further through the use of this unusual material art history could benefit new discourses on fragility, vulnerability, affect and sensitivity. It would not be a co-incidence that Ingrid is a female artist who is working on paperart when there is a surge of feminist positions and theories that value vulnerability and fragility.
There is a haunting silence in Ingrid’s works; a characteristic austerity. This silence is an eloquent and involuntary reference to the vulnerable and fragile nature of paper.
Ingrid’s unique conception of this form of expression and her prolific output is an artistic breakthrough. It would not be a cliché to use affectionate adjectives such as “pre y”, “exquisite” and “beautiful” to describe her works. To view these images or works is to be overwhelmed by the sheer variety of approach. There is o en a freshness to these works which belies their fragile quality. These seem to be exemplary pictorial landscapes precisely because they suggest the enigma c quality of nature per se. Ingrid’s significance is that while she echoes the stylis c aspects of abstract landscape painting, she uses her paperart works to establish a new visual language through it.
Premjish Achari, 2015
This exhibition puts on view two groups of works using two different mediums crystallizing the problematic of ‘art making’. The first falls into the trajectory of works using acrylic on canvas, but Vanita also extends the monochromatic works into specially made paper in circular shapes. The second group of works is mainly sculpture. Establishing a strident and highly radical style with the use of beaten brass and inflated balloons. Besides these, there are three videos that depict the witty and edgily eccentric aspects behind the creation of these works and concerns related to space and void.
Vanita’s enquiry into the art-making process is manifested in the creation of her sculptures that are a new edition to her repertoire. The sculptures displayed here are the culmination of two processes – hand beating and casting. Vanita sees the outcome of these objects as her constant urge for wanting more from the paintings. In fact, they are an animated three dimensional version of the paintings. In an attempt to find physical shapes for the objects in her mind Vanita began working on brass casting. The moulds for them were uniquely designed with an inconsistency on the surface resulting in an uneven thickness in certain parts and the presence of various perforations. Vanita then tried to fill these holes with ‘spaces’ by inflated balloons. These sculptures with various coloured balloons filling the ‘voids’ highlight the inherent tension between space and void.
These paintings are exclusively done in black colour depicting abstract forms and objects. Many have written on Vanita’s excellent use of strokes, and her mastery of applying the paint. Nevertheless, Vanita restrains herself from divulging more about these works and confines her rubric in an austere gesture, “I believe in the ardent need to paint, nothing more nothing less.” The use of black for her is a conscious choice to arrive at that definite form, to show the form she is depicting and to naturally project the height, contrast and shape of the object. Black is the creative vessel for her. Her use of bold brush strokes combined with light strokes is a conscious arrival at depicting the tension between space and the absence of space.
Premjish Achari, 2015