
Breather between breathtaking and breathfulness
Between the conception
And the creation Between the emotion
And the response Falls the Shadow — The Hollow Men, TS Eliot
“I think of my works as meditation, [samadhi],” says Trishla Jain. And it shows.
Looking at her canvases, you realise two processes are at work — one, the very essence of the creative process that takes form in her paintings is on display; two, this process is reversed by an active act of immersion for the viewer who now becomes part of the creative process. In other words, we are in the Shadow zone — the breather — between conception and creation, between emotion and its response.
Jain’s solo exhibition, The Quiet Interlude, that opens this Saturday in New Delhi, underlines the binary of yantra (geometric forms) and tantra (fluid forms) for sadhana (meditation). The order and precision of the grid, the square, the circles in many of the works give way to more open form in others, both capturing the breathtaking and breathfulness.
She elaborates on this visual systolic-diastolic in terms of the breathing process. “In the early days, I was practising pranayama — mindful awareness of breathing — while I was applying the grid.” The mandalas in many of her works become operational sacred spaces, palpable, for instance, in the pointillistic mantra of Cave, with its radiating squares-with-insquares, as well as the dhun-like cascading circles of Around, both watercolour and ink on canvas works that draw the eye in, and then further in.
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