This series takes further the celebration of the inter-play with surfaces and various media. Images of the artist and his room captured through the web camera is interlaced with drawn images, and everyday symbols. The enclosed nature of the room is constantly under attack by these images of freedom and flight. The image of an aeroplane seeks its way from inside the room to the window to and outside; kids zigzag in joy; a dog, watching the rain outside, thinks up an umbrella; the walls imagine light bulbs, the man walking upside down thinks of his obverse, the shadow of a cat watches over the shadow of a fan; couples, hand-in-hand, meander through the digital image of the window; the artist’s hand tries to capture the imaged butterfly; the plastic chair dream of a wheel chair; people tug a plane across the enclosed space of the room; a cat leaps into the one-dimensional plane of colour from the image of the room..
webclips Photoshop, Inkjetprint On Paper
In this series, there is a constant interplay and collision between spaces and images, imaged and recorded, made and dreamt. Flat, one-dimensional spaces of colours, trisect the other planes that populate the room - the image of the artist, his reflection upon the mirror, the little animal-images, and thought-balloons. What is ‘picturised’ is the room of the artist as well as his ‘interiors’, the stuff with which he works, and the planes he has to juggle with constantly to make sense of the real, and also memory. Like spaces and images from the past and present, memory and imagination, real and imagined, all seem to gather life to swarm around, at the same time underlining and erasing, affirming and negating, constantly yearning to make sense of the ‘stuff’ experience and reality is made of.
Straddling the Analog and the Digital
Like the past and memory, the problem with the digital is not only its infinite vastness and immateriality, but also the poignant impossibility of ‘mastering’ or taming it to our own essentially limited parameters of cognition and expression. For instance, how do you make sense of your own biography, or how do you place yourself (or find a place for yourself) in this realm of the diffuse, the incorporeal and the virtual?
The series of digital images by Priyaranjanlal addresses this question head on, by taking the digital horse to the pond. He uses the digital to confront both his personal past and the very process of his growing up as an artist. For this, he turns back to the ‘basics’ as it were, to the remnants of his own past: the drawing book which brought him face to face, not very pleasantly though, with the task of representing the world in its own image, and the family album, those fragments from the past, that captured images as moments of past for future consumption. In his digital studio, these ‘found’ objects of memory turn into tools of reflection upon one’s own past and the art. And by exhibiting them, they take corporeal forms to straddle the worlds of the analog and the digital.