In her current series of work, Goel has deployed elements constitutive of the urban commercial landscape in order to layer wall-sized surfaces. Segments and slivers of lead, limestone, MICA, cement, concrete, brick, black rock and glass when pulverized and combined with industrially processed binding media form pastes of varying viscosities and tonal registers that gradually seep into the weave of the canvas or describe sporadic passages of impasto across its surface. The studio space becomes a veritable geological archive, a paradoxical record of a changing metropolis.
Natural dyes such as the ubiquitous neel pigment find application in wall drawings that mark water level – a process crucial to the commencement of any architectural endeavor– as well as in intimate, almost calligraphic works on paper. Against the structural assurance and austerity of the grid– a leitmotif in Goel’s oeuvre– immediacy of intention, impression and gesture incline towards their ‘correct level’ during a protracted creative process to culminate in a confident, cadenced construction.
Sensitive to changes in the degree of natural or electric light, temperature, humidity levels and the concentration of atmospheric particulate matter distinctive of the environment in which they reside, Goel’s works continually happen in time– time serves as a function of both geological accrual and disintegration. By exploring the tension between meditative repetition and instinctive response, dense and de-materialized surfaces, endurance and ephemerality, they hold these vectors in dialectic play.
Sarvesh Harivallabhdas, 2015