- Speaking of your works, and subject matter—there are many things to tackle in this interview. Let's first talk about the coexistence of organic and inorganic forms in your work. At first glance, it seems highly structured, highly architectural; in other words, inorganic. But the closer one looks, one starts to observe other things, interwoven and curvy shapes and what not. I remember asking you if it was barbed wire/mesh and you told me that it was not—that it was actually a mushroom that grew back in your hometown in Tripura. Or take the example of the difference between a work like Plot,
2019, and Longer Existence I,
2023. What exactly are you trying to showcase in your works with these contrasting forms?
Joydip - Very keenly observed, the organic and inorganic are both the very innate characteristics of nature. As I observe the world around me, the surroundings, from minute details of plants to a gigantic form, everything leads me to a better understanding of forms and shapes. Most importantly, these observations highlight the balance between all forms.
When I visit construction sites, it is generally the inorganic which stays in my subconscious. I grasp the details of the site but it is very overwhelming sometimes to see such drastic change in the site overnight. I document the changes I see and later when I put them all on canvas, the macro character and the micro details come together. I try to balance them and keep them together in a visual way but I leave it open for the viewer to find their own patterns, open to their own imagination. For me, abstraction is in the details. As we hyper zoom into any surface, it becomes abstract. Even when we see any material very closely and minutely, it takes an abstract form. Sometimes the detailed texture of a substance becomes abstract. Individuality of something gives realistic rendered forms. Hence my works are somewhere in between the macro and micro, organic and inorganic.