The Other Somewhere
Collection:UAL Art Collection
Date: 2019
Artist: Manisha Saini
Dimensions:
130 x 130 x 5 cm
Medium: Acrylic on canvas
Object number: UAC 989
See Also
DescriptionManisha studied MA Painting at Wimbledon College of Arts. She says:
I paint what I have never seen. Thinking through image-making, I create imaginary ‘inscapes’ that merge elements of classical European architecture and Indian culture. Occupied by associative patterns and repetitive geometries rather than people, these scenes align with Marc Augé’s ‘non-spaces’ devoid of social relations, between the real and the imaginary.
Through meditative painting processes, I elevate familiar and everyday places that usually pass us by unnoticed. Collapsing time into space, the tautology of my interiors is schematic and invites the viewer into a state of speculation. Layered composite drawings subvert the conventions of perspective, hinting at the chaotic complexity of order. The passages, pillars, steps and platforms of the past lead into contemporary worlds that strive to be non-hierarchical. The elements of flatness, line, form and collage compel as layers of information into the history of my painting process. Hence, my paintings challenge the value systems dividing decorative arts, design and fine art to accept them on equal terms.'
I paint what I have never seen. Thinking through image-making, I create imaginary ‘inscapes’ that merge elements of classical European architecture and Indian culture. Occupied by associative patterns and repetitive geometries rather than people, these scenes align with Marc Augé’s ‘non-spaces’ devoid of social relations, between the real and the imaginary.
Through meditative painting processes, I elevate familiar and everyday places that usually pass us by unnoticed. Collapsing time into space, the tautology of my interiors is schematic and invites the viewer into a state of speculation. Layered composite drawings subvert the conventions of perspective, hinting at the chaotic complexity of order. The passages, pillars, steps and platforms of the past lead into contemporary worlds that strive to be non-hierarchical. The elements of flatness, line, form and collage compel as layers of information into the history of my painting process. Hence, my paintings challenge the value systems dividing decorative arts, design and fine art to accept them on equal terms.'