The psychic self resurfaces in Puneet Kaushik's life-size installations in Wire-Mesh & Steel
The exhibition comprises of recent works by artist Puneet Kaushik that aim at addressing the inherent quality of 'a being', what makes it transform, transgress or de-generate. All the works have a metallic steel wire construction in defined forms and de-constructed shapes. His charcoal and dry pastel works are a study of his own self exploring the constructions within.
Tweet-- Art Konsult presents ‘Symbiosis - Installations & Drawings’ by artist and designer Puneet Kaushik; a solo exhibition of nine drawings in acrylic, charcoal and pastel & five installations in mixed media including stainless steel, sequin dust, acrylic, cotton, goat leather skin and wire mesh at Art Konsult, 23, Hauz Khas Village, New Delhi from April 18, 2009 to May 16, 2009.
Says Siddhartha Tagore: “The exhibition comprises of recent works by artist Puneet Kaushik that aim at addressing the inherent quality of ‘a being’, what makes it transform, transgress or de-generate. All the works have a metallic steel wire construction in defined forms and de-constructed shapes. His charcoal and dry pastel works are a study of his own self exploring the constructions within.”
Kaushik is an artist who likes to ponder and pause before he begins working on a show. So while his last show (January 2008) was then held after a gap of four years, the current show just after over a year can perhaps be understood in connect and continuation of his last exhibit. He continues to expose his psychic self in installations and drawings, creating and recreating situations that are daring and at the edge - projecting the self in its fractured, multiple identities. The emphasis on PINK in his last show has ceased to exist though. He says: “Last year, the colour Pink meant many things to me… the gay pink, the Nazi soldiers and the free spirit. I was reacting to almost having ‘pink in my veins’!” This year, the catalyst that fascinates the young designer-artist is the colour Red. He explains: “I am onto the next stage of life’s consciousness. From the free-spirited pink, I have moved on the full-bodied Red that represents full-on passion for life.” Ask him if Red also symbolizes for him motifs from society as had Pink for AIDS and Nazi soldiers, he confirms with a nod. “Red is all around us. A greater religious and socio-political symbolism can be understood through this colour. Its manifestations are in form of sindoor, tilak, aalta etc.”
The intent of the show oscillates from de-generation to generation, construction to destruction, each pair governed by the linearity of time. He creates forms that celebrate the element of construction within one’s self, building up with time towards self realization, but finally its anti-thesis moving towards decaying that very being. Just as cycle of life moves from the sub conscious, conscious to the unconscious, Puneet’s works explore a lifetime of the journey of the being...providing a method for the viewer to interpret this journey through his being.
Expectedly then, the narration in Puneet Kaushik’s work begins with the essence of “the self”. For instance, in his work titled Symbiosis, Puneet Kaushik constructs the ‘continuity of life’ with multiple layers. At a size of 8 feet in diameter, the installation is made of stainless steel and wire mesh, Symbiosis reflects a cooperative and mutually beneficial relationship between two people yet wrapped in layers of turmoil that finally alter the essence of relationship with time, forcing it to degenerate, finally laying the foundation for new growth and a new generation.
Continuing with stainless steel installation, Bricollage, he portrays life’s most essential aspect which is ‘growth’. Hanging down fifteen feet from the ceiling, this installation is made of cotton, wire mesh and sequined dust. The installation is weaved around a 9-feet-long LED light which stands erect as a spine symbolizing strength with the bunch of cotton symbolizing society. Says Puneet Kaushik: “An individual matures emotionally through a continuous cycle of social contact just as an artist is influenced by every stimulus that is around him.”
Another work titled Germination, gives the concept of ‘growth’ a larger dimension. Attached to one whole side of the wall, this group of fifteen smaller works varies in sizes of 1 – 2 feet each. With ample light effects, the shadows of the works falling on the walls are also visible. Made up of wire mesh, sprout-like seeds with roots bursting out from the work refer to an individual who, as he grows older, starts to interact with people outside his family, breaking the proverbial umbilical cord and stepping out into a hitherto unknown world. But, yet his shadow which is inseparable from the self always goes along with him.
In two other striking installations titled Body as Vessel and Sacrificial Vows, Puneet Kaushik has used goat leather skin. Says the artist: “Using goat skin in my installations came after I saw the Andhra puppeteers using it for making their puppets. Just like on festive occasions, a goat is slaughtered or sacrificed, in the same way in our day to day living, we do sacrifice something or the other, be it our opinion in front of friends & colleagues, our wishes in front of our parents and spouse….”
Last but not the least, his drawings titled Lineaments show ‘the being’ captured in his day to day affairs. At a height of 9x8 feet, these drawings at first glance seem abstract but look closely and you find a loop going on and on. Says Puneet: “Drawings are my first study of understanding art.” The loops or the chakras represent the emotions one experiences daily, a vicious cycle from which one cannot get out. The colours I have used represent the various moods which the self goes through – red for conflict, blue for calmness, green for acquiring wealth and pink for romance.
Puneet Kaushik, presently lives in Delhi. To source his materials, he travels all over India as well as works with different craftspeople from Andhra Pradesh, Kerala, Uttar Pradesh and Jammu & Kashmir.