It is as if mysterious forces coursing through the mohalla* have spontaneously combusted and ignited to produce a marvelous emanation of the cosmic in our midst.
Who knows what corners of the universe inform this luminous entity in the middle of Mehrauli**, the watering-hole for generations of horse-riding world conquerors, what hidden histories of the people are recounted in its mysterious ebbs and flows? A wish-fulfilling tree, sometimes studded with jewels, sometimes revealing the silken textures of a beautiful woman's thigh?
Light makes the remembered disappear and in its glow we glimpse perhaps the finest movements of our desires hidden deep within ourselves, the sticky flows of habitual but subtle lust by which we attach ourselves to reality in order to feel organically alive.
In this dream-light that can only be the beginning of consciousness as electricity, we find ourselves merging with the thing, the patterns of art effortlessly morphing into those of the mind.
*an area of a town or village / a community.
**is a neighborhood in the South-West district of Delhi in India (en.wikipedia.org/wiki/Mehrauli)
When artists, Vishal K Dar and Gabriel L Dunne, presented their work in a small space in Mehrauli, on the fringe of the community’s development, the children of this neighborhood had immediately made up their minds about the creature's (NAAG sculpture)true nature and the reasons for its appearance. To them it was a wish fulfilling sea-serpent, silent and evocative, which had found abode in this unused space to hibernate during the cold winter months of Delhi.
Interestingly, we found how myths originate in such communities that are untouched by contemporary art and technology. Their chancing upon an object that is beyond comprehension, allows them to put their faith in notions of folk-lore and myth making.
Vishal K Dar / Gabriel L Dunne wanted to challenge the notion of sculpture as a static object. Their organic sculptural form has its roots in CAD software and is further skinned with a generative algorithm. Different parts of the sculpture move differently, as if a form had coiled onto itself. The viewer is liberated since the sculpture does not rely on prescribed grammar and the experience helps resolve a paradigm shift in our viewing registers.
The sculptural form wraps itself around an existing architectural column. The surface texture is similar in material and color to that of the existing walls. During the day it appears to be sedentary, but after sun down, the surface starts to glimmer and move. The projected animations are mapped onto the surface from two positions, covering a 300deg viewing angle. The projections move in tandem with the surface segments, creating a mesmerizing rhythm.
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