Bikaner House exploded into a collective vision of cutting edge contemporary art practices with On Site -4 premier galleries coming together. Nature Morte had stellar names and it was Martand Khosla’s installation that caught my gaze and kept me transfixed. This large wall work by Martand exploded the idea of banality of domesticity by a centrifugal force; a concentric assemblage of miniature furniture forms presented a cornucopia of sorts ; not only did it seem to flit and float off the wall it had about it a lithe lucidity in the complexity of coherence, unveiling a simplicity of medium and materiality and ingenuity thrown into its crevices.
Coupling miniature and monumental
Martand couples contrasting paradoxes-with miniature furniture parts he creates a sculptural stabile that encompasses the gradation from miniature to monumental and vice versa. The viewer is left wondering to the point of quizzical wonder and asking , “ Is miniature not monumental? ”
This single installation makes us ponder about the power of intimacy, overcrowding and the reality of cities and societies. Because of the size of these rooms at Bikaner the experience has a wrap around feel. There’s an incredible joie de vivre and tensile tactility on display. Visitors are made to feel the power of the old adage: Small is beautiful.
The creation of this quasi- abstract curvilinear landscape with its miniature meandering forms harks back to mid-century architectural aesthetics. In contrast, the tinier miniature furniture pieces have about them a feel of rippled resonance in rhythms.
You can admire closely, or from a safe distance away. Martand lives and works in New Delhi, India. His art practice explores urban continuity and transformation, as both complement and counter to his experience building in contemporary India.
Having founded and run an award-winning architecture studio for over fifteen years (Romi Khosla Design Studios). Interesting how he has a deep understanding of the language of tension, allowing the materials he uses to pay tribute to both the temporary and permanent.
This work traverses the line between sculpture and object, movement and motionless, a coda to material and memory. Inspired by his studies of repetition and the human churning of industrialization, he replicates the micro-processes of macro-construction.
To Martand Khosla, the definition of design is simple. He sees it as the ability to improve the usability of a space or object while attributing an aesthetic dimension to it. “In a manner that the experience of the object or space moves beyond the visual or intellectual,” he says.
Images: Nature Morte
Views expressed above are the author’s own.
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