The Ambiguity Of Landscapes

“The Ambiguity of Landscapes indicates the possibility of interpreting visual expressions in multiple ways. It showcases Nayar’s obsessive use of hyper-real images of the human body’s interior and its environment to achieve a kind of synecdocichal abstraction by making enlarged images of microscopic elements to represent the whole. In the process, she frees herself from direct contact and replication of reality. Nayar does not want her art to be seen as asserting facts; again and again, she dodges the attempt to finalize readings of her work, deferring the closure of interpretation.

Nayar’s use of hyper-real images that verge on abstraction is the result of an obsessive and conflicted desire for both visual minimalism and complexity. There is a profound desire to draw deep concepts by showing what is usually hidden and obscure and by emphasizing materiality and texture.Nayar intentionally creates works in which this aspiration become entangled with larger social issues through the viewer’s act of looking. This exhibition is a conversation between the artist, the artworks and viewers.”

– Annapurna Garimella and Sindhura D.M.Jois Jackfruit Research and Design Bengaluru

An Ocean in Every Kitchen

The work is born out of a continuing engagement to explore the fluidity and transmutability of water. These snippets are based on looking at water in the everyday world, whether inside the kitchen, or outside in urban water bodies, or in nature. The work captures moving pictures through minimalist – but not reductive – detail, and how relationships between part and the whole are negotiated through the observation of such particulars.

Core / Column

Date: 2009
Size: Diptych; each panel is 18 x 36 x 1 inches
Medium: Hand-drawn graphite on wooden panels

Core/Column is based on the human spine, which is the centre where all body-related stimuli are processed and understood, the place from which the call to act and respond is sent. There is a sense of familiarity and rupture, as the body is perceived through deep levels of magnification. The work can equally evoke in the viewer’s mind, some eerie landscape of a fictional world or a hyper-real view of the body.

Deep Symmetry

Date: 2013
Size: Diptych; 11½ x 22½ inches each
Medium: Archival print on Hanhnemule paper and Hand-drawn graphite and mixed media on wooden panels.

Symmetry in the abstract refers to a sense of proportion, balance – beauty even. But in a scientific sense, especially in mathematics or physics, symmetry relates specifically to the germinal properties of matter. There is a profound connection between the symmetries of the laws of physics and the laws of conservation. The Deep Symmetry series plays with the interconnectedness between the objects of our world as visual associations and internal affiliations.

Geometry of the Everyday

Date: 2013 – 2014
Size: Set of 12 photographs; 6 x 8 inches each
Medium: Archival print on 210gm Hahnemule paper (edition of 12)

Using the camera as a notational tool and sketchbook, this work is an on-going reminder of the unnoticed minimalist minutiae that go to make up the complex systems of the world. The eye moves between the technical/industrial and the manmade/domestic. There is a resonance between the organisation of forms into patterns and their iterations at micro and macro levels.

Inhabited Design

Date: 2013 – 2014
Size: 7 x 5 inches; each panel projects 3 inches from the wall
Medium: Hand-drawn graphite on wooden panels

When we modify the scale at which we look at things, much changes, especially the landscape of human habitation. It could be a blue speck in a vast black universe, patterned shapes viewed aerially or the detailed minutiae of our chaotic streets. Inhabited Design is part of this exploration of the changing views of landscape, especially those mediated by satellites. An abstract quality is conferred on the works, taking them beyond their real-world specificity. This set of four fragments is based on the cities of Delhi, Mumbai, Kolkata and Chennai.

Interlaced Bodies

Date: 2013 – 2014
Size: 5 x 3½ x ¾ inches each
Medium: Hand-drawn graphite on wooden panels

The seas and oceans are all joined together into one impossibly huge body of water, and yet this vast immensity is also experienced personally as the waves that break over sandy beaches, the froth in which we swim and paddle our feet. As sea levels rise, the sands are eroded, shapes shift; a tremor under the sea near one land creates a tsunami in another. The abstract traceries of foam and water, linking sea to sand, speak of an ever-shifting state.

Looking at You Looking at Me

Size: Five Boxed Panels,
18 x 18 x 3 inches each
Medium: Hand-drawn graphite on wooden panels

The act of seeing is both an objective biological function, and an interpretative psychological act. The fragmented images reference the examination of parts of the eye – retinal blood vessels, a gathering tear in the tear duct, rods and cones – under very high levels of magnification. Working with such seemingly abstract fragments is an attentive way of describing the world of our visual and psychological realities. There is awareness of the relationships between the mental process of recognising an image and describing an idea, and its translation onto a visual surface.

Visit Us On FacebookVisit Us On Instagram