Dissonant Images:
Three Solos
Koralegedara Pushpakumara (Colombo)
P.S. Jalaja (Kochi)
Parvathi Nayar (Chennai)

Dissonant Images is a presentation of three solos of artists Koralegedara Pushpakumara, P.S. Jalaja and Parvathi Nayar. Each solo engages with the philosophy of our place in the world, in essence functioning as an attempt at mapping the constructs of our relation to the elemental by drawing connections within our scientific, environmental, political and cultural truths and myths. The relationships between self and image/ image and image, often registers a dissonance, seemingly unrelated in the way they are conceived and consumed thereafter. They tether between the real, the imagined, the possible and expands on our understanding of their implicit cacophony and chaos. At a formal level, each artist works within the tropes of painting and drawing as an oeuvre, questioning how far they can push their ‘aesthetic’ and towards what end.

K. Pushpakumara develops a language with a self-invoked iconography located specifically within the civil war his homeland witnessed between 1983-2009. His use of the barbed wire, razors, 2 x 2 poles and tarpaulins in his large-scale paintings is in a similar vein to artists such as Norman Lewis – a way to confront the potency of a (post) conflict space down to its basic vocabulary out of the need to ensure narratives are not erased or rendered invisible.

In P.S. Jalaja’s ‘Boat People’, the familiarity of the image is rooted in shifting identities of particular bodies; that of the ‘refugee’ afloat in the middle of the vast undefined ocean in a shared sense of ambiguity between ‘natureculture worlds’ in not being anchored by horizon or visible land.

Parvathi Nayar explores the tangible (water) with the intangible (time) mediating relationships between what is perceived and what is constructed. Working with an element from nature that has no form and navigating through fluctuating concepts of the absolute and unchanging, her choice of a visual lexicon from the lived world and its conditioning starts from the self-reflective. Nayar’s graphite drawings shift between its two dimensionality into other iterations including mixed media and video based work.

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