Wie sich die Welt aus Gedanken formt – Künstlerstatement
"Das Bildgeschehen in meiner Arbeit basiert auf den Empfindungen des Seins in Korrespondenz zu Dynamik einer potenziellen Wirklichkeit. Somnambule Erzählungen und Protagonisten, die selbstvergessen in Handlungen verharren, geben den Blick frei auf eine innere Bühne.
Monochrome und zerfließende Freiflächen, Muster, sowie geometrische Linien und Formen bilden die Grundsubstanz der Bildräume und der in ihnen stattfindenden Bewegungen. Über die Komposition figürlich- gegenständlicher Motive klärt sich der abstrakte Bildhintergrund zu einem bestimmbaren Ort auf. Bezug nehmend auf das fiktive "Glasperlenspiel" aus Hermann Hesses gleichnamigen Roman, handelt es sich beim Leitmotiv der Bilder, Zeichnungen und Installationen, um eine spielerische Synthese von (Zwischen-) Ergebnissen aus Wissenschaft, Kulturgeschichte und Kunst, im Hinklick auf einen subjektiven Erkenntnisprozess. Aspekte des "Ukiyo-e", der alt-japanischen Vorstellung von der "fließend- vergänglichen Welt", die voraussetzt, dass das Sein beständig einen Prozess des Werdens und Vergehens durchläuft, finden ebenso Eingang in den Fundus, aus dem die Bild-Fabeln enstehen, wie auch z.B. Gedankengut aus der Epigenetik oder der Quantenphysik.
Experimentell zusammengestellte Themenfragmente wachsen im Bildentwurf zu ungewöhnlichen Schlüssen und Kommunikationsvariationen zusammen. Die Vorstellung, Ideen im weitesten Sinne, als kleinsten gemeinsamen Nenner des Daseins zu betrachten - nicht nur der mentalen, sondern auch der physikalisch-biologischen Welt, durchdringt die malerische Narration."
Unbelievable and undeniable : on Indra’s paintings /
There is nothing safe about Indra’s work : any initial sense of security
offered by the clearly recognisable figures, landscapes or architectural
structures is quickly dispersed by the impossibility of grasping what
the work is about. Like a dreamscape or a story unravelling as a stream
of consciousness, we are transported into a fictional scenario that the
artist has collaged together from different sources, primarily from the
internet. Culturally specific motifs (such as the frequently recurring
geisha women or the concrete bunker in Alm) and references from
history, film or science fiction collide with environments that have
become bland archetypes – forests, urban skylines or romantic landscapes.
Projected and then painted onto the canvas, this disparate selection of
motifs reflects the virtual world from which they are drawn in which
anything is possible and where associations are made rather than
The ambivalence concerning our reading of the work
is created primarily by the fluid perspective that increasingly characterises
Indra’s style. The artist avoids stasis, playing games with our perception
by a constant process of transformation. In Polar, for example, the two
geisha women are in the process of dissolving, their lower bodies becoming
ribbons of colour that float through the forest, mimicking the flow of the
waterfall. In Alm the deer is reflected and in the reflection turns into a
rabbit ; while the solid blue shadows of the trees take on an abstract life
of their own, independent of the structures they are created by. The
perspective in Indra’s work is constantly shifting, leaving the impression
that the image is held together for just a short moment before dispersing
again. Reality in these paintings is perceived rather than true, the most
‘real’ elements, such as the urban scene framing the lower edge of White
Sun, often just the stage-set for the fantasy action.
The kitschness that initially
confronts the viewer – horses from teenage girl posters, bland but beautiful
geishas, opulent flowers – is offset by a playful absurdity that makes it even
harder to pin the work down to a single category or style. The Boticelli-
inspired Marie cuddles a smurf ; a geisha in a rickshaw in Lady_And is
pulled by a Godzilla-like tyrannosaurus ; Stephan, the man born covered
in hair, wears a girly bow and is surrounded by comic-book bubbles.
As is so often the case in Indra’s work, these simple forms play a greater
role in the overall image than at first appears, for the paradox of their Pop
art frivolity contains within it both a compositional and an intellectual
Drawing is the activity that lies at the heart of Indra’s work,
the organic lines of marker pen painstakingly applied to the contours of
primarily flat areas of acrylic enamel paint. She takes pleasure in the
lightness and immaterial quality of line drawing, using the abstract
patterning to provide the basic compositional structure - the ornamental
underpinning of the image – as well as its sense of fluidity. Although
the monochrome blocks of colour are juxtaposed with softer,
modulated areas of spray paint underpinned with ink, Indra’s interest
lies less in the exploration of brushstroke or the texture of paint but
in how colour, in combination with line, can be used to create space.
In this, her aesthetic is closer to computer imaging than to traditional
painting, while the rapid shifts in perspective within individual works recall
the dynamic of computer games.
Often the subject is almost a pretext for this investigation of how spatiality
can be created on a two-dimensional surface, by exploiting the freedom
and impression of endlessness offered by spray paint in combination with
the marker pen lines that sit on the surface. In Frühnebel, for example, the
white pools that lie like snow on the grass are both something and nothing,
drawing our attention to the artifice of the work of art, its status as just paint
on canvas. In a number of diptychs, such as Lady_And and Mariposa, the
abstract painting on one canvas has been impressed onto the other to create
a twin image. In several works a final monochrome flourish has been imposed
on the surface, creating a bridge with the viewer’s own space, the points of
irritation holding the paintings back from a too comfortable notion of beauty.
Where beauty is permitted, it is always slightly disturbing and tinged with
the sense of its ephemeralness. The combination of black background,
recalling the baroque convention for flower paintings, and the transparent,
floating skeletons of the flowers themselves, make Mariposa particularly
melancholy. The uneasiness of the work is heightened by the synthetic,
hyperreal effect of the combined touches of spray and fluorescent paint
in the muddy tones and pastels that Indra favours.
The artist’s fascination
for Japanese art is apparent in both her subject matter and the organic
linearity of the drawing. However, it is her identification with the Japanese
philosophy that simultaneity is both possible and desirable, in contrast to the
western notion of ‘either or’, that is the more important key to Indra’s fusion
of sources, styles, media and perspectives. Eclectic, playful and independent,
she creates virtual worlds that are both substantial and effervescent,
unbelievable and undeniable.