"As the line breaks free from the page, new relationships between drawing and the physical and social environment emerge. My drawings aim to create a secret recipe for an inner landscape of the human condition: narrative vignettes that are both alluring and mysterious. Nature and the elements existing within it become metaphors for a strange and, at times, super-reality—a parallel universe that questions the natural scheme of life itself.
There is a sense of openness in the act of drawing, despite its medium of execution, which lends itself to being a dynamic space for experimentation. This openness, paired with the immediacy of mark-making, makes possible a form of visual thinking unique to the drawing process. Born from a mark, drawing is a revealing act. Even a highly realized piece can expose its process of creation. By tracing the subtlest gestures and undulations of a drawing, one can discover the thought process that created it.
This experience enables me to come closer to understanding how it identifies with the new world. The concerns that arise from this process reveal themselves to me as subversive dualities existing in the micro-world. It conveys a sense of narrative, suggesting a particular subjectivity, while also conjuring the world of imagination with fragments of time and space. It becomes a relic of memory of the depicted scene, irredeemably locked in an imperturbable and untouchable past. This has been finely expressed through the informal and anecdotal codes of lines. The drawing represents experience rather than appearance and, in this sense, relinquishes the mantle of perception.
My drawings recall both what was there (absence) and what could be there (invisibility). In the drawings collected here, we can see that the dominance of perception is relinquished. Memory and its extension in imagination take precedence. It has progressed from being the 'primal means of communication' to a procedure that facilitates the more directly theatrical in its artifice or its physical engagement. Drawing, with each stroke, re-enacts desire and loss. Its peculiar mode of being lies between the withdrawal of the trace in the mark and the presence of the idea it prefigures. A line always suggests continuation and infinity, thus connecting me with the distance between the touch and the impression of being touched in my life. Through creativity and questioning, the viewers, I have developed my artistic language from the unknown, which has become a personal aesthetic idiom.
My animated drawings are experiments that start with a question, and therefore, the physical outcomes are the results of the variable factors set in motion. Animated drawings are a record of time or endurance, a transaction, a trace of presence or touch, a ritual, a performance, a map, a type of meditation, understanding, and thought, all of which are converted into tangibles. Animations take advantage of a three-dimensional sense of space, allowing us to imagine movement through time and explore the narrative implications of still works. They have been given access to the inner world and their interpretation of this realm; the corporeal is no longer meaningful. The vast territory now on the palette of work ranges from mystical experiences to visualization events and everything.”
--- T. Krishnapriya
