Agnes D'Cruz Rajesh (°1967, Gwuahati, India) makes paintings, paintings, drawings and mixed media artworks. By applying abstraction, Rajesh absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her paintings are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By exploring the concept of landscape in a nostalgic way, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works are a drawn reflection upon the art of painting itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By contesting the division between the realm of memory and the realm of experience, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in painting. By choosing mainly formal solutions, she uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
Her works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. With Plato’s allegory of the cave in mind, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, she investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By emphasising aesthetics, she tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Agnes D'Cruz Rajesh currently lives and works in Hyderabad.
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