Delhi-based contemporary artist Priyanka Sinha creates images of our core containing no noise, but a deep silence that joins us to sink into our inmost soul, says Jyotish Joshi
Priyanka Sinha is a well-known proficient artist working in abstraction. She has accorded captivating visibility to her paintings by depicting figurative forms in abstraction. Her colour use is fine, in which she reveals the unmanifest with the aid of lines. This unmanifest or invisible becomes visible when she gives it a form by expressing the relationship between the wall, the surface and the sky. When looked at with considerable attention,it seems as if it is not a figurative or shape creation. The figures emerging from rectangles, planes and slant lines emerge in the form of small houses, in which somewhere there is an open door, somewhere there is a peek-a-window, somewhere there are figures springing up on the wall, and somewhere there are objects in the shape of a coil like divine feminine energy, whose colouration amazes us with the coordination of its combinations and configurations. These include the unnamed and formless fragments of our inner world; those whom we feel consciously or unconsciously, or from whose imagination the reality of our inner self arises, there is an attempt to judge them very carefully.
The distinction between fantasy and reality is absent here. What is present is beyond the manifest and the unmanifest lying in that solitude in which we find ourselves in a world created by us or passed down to us. All this is only possible when we try to escape the outside world and descend within ourselves. These images of our core, composed by Sinha contain no noise, but a deep silence that joins the observer to sink into his inmost soul where many unfamiliar, seemingly insignificant figures, seem to float on the easel.
These works contain a music-like melodious voice, which is felt within us. It is not without reason that the German philosopher, Schopen Hauer said: “All arts tend towards music.” Art progresses to music only when it finds its own rhythm, in which the artist’s self dissolves and gets absorbed in art. Then it vibrates. Sinha’s art seems to find that music, no doubt about it. In these works, the artist’s own world is apparent, which we perceive or feel to be non-apparent or invisible, being lost in some inexplicable world, for a long time. Wassily Kandinsky writes in his book, Concerning the Spiritual in Art: “When the artist expresses his subject in abstraction, he realises his inner self in his art.” That is, the artist’s feeling or understanding of his own core is in fact the merge with the inner of the viewer and thus the invisible becomes the visible and the visible becomes invisible.
Says the artist: “There are few ephemeral intimations that exist in our direct and indirect peripheries of seeing. These indirect and inert intimations play a central role in my works. The armature of these imperceptible intimations here obviates the skeleton of manifested confirmations. The strong armature of my painting depicts the colour of the blood throbbing through My Veins, and working as the oxygen for my artwork.The hope which gives me the support to stand and look forward to a better time is invisible even for me.” As such, these works of Sinha record her strong presence in contemporary Indian abstract art and also assure us of her future.
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