Tanya Goel's architectural paintings index and map an archive of material collected from deconstructed houses, which were built in a modernist style prevalent in Delhi from the 1950s to 70s. After having lived in cities such as Chicago and New York, Goel returned to live in New Delhi, the city where she grew up – a city with an organic accrual of architecture and a unique "logic". She witnessed fundamental shifts in the use of industrial materials (steel and glass replacing iron and brick). Goel seeks to hold on tangibly to a rapidly disappearing period of modernity, and create a material record of a vanishing period. For these works, she makes her own pigments from a diverse range of materials including charcoal, aluminium, concrete, glass, soil, mica, graphite and foil, many sourced from those sites of architectural demolition. Goel has over the past three years experimented with drawing and painting on the surface of segments of extracted stone and concrete, developing an ongoing body of ‘frescoes'. Her ‘builder's drawings' on the other hand are residual of a process. They record permutation and convergence of ultramarine blue pigment, set against a finely drawn grid on the wall.
Goel’s newest works reference both weaving and the screen, mathematics and memory. “Like I’m weaving” Goel says, “I establish an algorithm, using different pigments as language, and repeat the code over and over until the algorithm starts to fall apart, and the pattern is unreadable”.
Born 1985 in New Delhi
MFA (Painting/Printmaking), Yale University School of Art, New Haven
PBS (Painting/Drawing), School of the Art Institute of Chicago (SAIC), Chicago
BFA (Painting/Drawing), Faculty of Fine Arts, M.S. University, Baroda
Lives and works in New Delhi
Indian artist Tanya Goel reveals the concept behind an intricate new painting ahead of India Art Fair
'What interests me most about colour is that it’s not a fact, it is fiction,’ says Indian artist Tanya Goel, ahead of this year’s India Art Fair and with particular reference to a new painting on show there, Index 2. Her statement is justified: colour is warped and transformed by the light it’s viewed in, the time of day it’s observed and by a viewer’s subjective perception – the latter point tying directly into Goel’s overarching interest in the act of prolonged looking at and curation of an image.
‘This, the Sublime and its Double’, Nature Morte, New Delhi
LEVEL, Galerie Mirchandani + Steinruecke, Mumbai
‘within | without’, curated by Saira Ansari and Indigo + Madder, Asia House, London
The 12th Gwangju Biennale 'Imagined Borders', curated by Clara Kim, Gwangju, South Korea
‘Vision Exchange: Perspectives from India to Canada’, curated by Catherine Crowston and Jonathan Shaughnessy, Art Gallery of Alberta and the National Gallery of Canada, Canada
21st Biennale of Sydney, 'SUPERPOSITION: Equilibrium & Engagement', curated by Mami Kataoka, Sydney
'India Art Fair', presented by Galerie Mirchandani + Steinruecke, New Delhi
'DWELLING', 10th Anniversary Show, curated by Ranjit Hoskote, Galerie Mirchandani + Steinruecke, Mumbai
City as Studio Fellowship, SARAI, New Delhi
Space 118, Mumbai