They may be temporary, they may be permanent, sometimes expressive, at other times informative; the emergence of installation art and installation artists has changed the way one perceives art. I take a sneak peek into the life of installation artist and entrepreneur, Madhu Chandrika to understand how she expands the definition of art, how each of her artistic works makes a bold and inspiring statement, about how she transformed from an art student of Chitrakala Parishat College of Fine Arts to what she is today.

The Spark that Ignited the Passion in Installation Art

I always wanted to create something with different materials; it offers a unique way to experience and express art. I love experimenting with different types of materials, from construction materials to soft fabrics and use it to create something totally what the material is not meant for. I also love to play with colours, and this immersive practice offers a scope for that as well. The three-dimensional nature of an installation intrigues me. Each project allows me to create a new thought, idea or a look can be achieved, that too from different perspectives. Plus there is not as many as installation artists in India when compared to the rest of the world.

The Creative Process, the Inspirations, the Visualisation

When I design for spaces, the starting point of my work is visiting the site. I take a look at the interiors and the distances from where the artwork will be used. The need of the art and the materials are then chosen to create the artwork according to the context of the installation. Now with so many years of experience, I have a good understanding of different materials and how they can be blended and used to create something new with aesthetic sensibilities.

About Organic Forms Taking a Prominence in the Works

Regarding the forms being organic, those are my artworks which are mainly inspired by nature and even the abstracts are nature inspired, they are more pleasing to the eye and lend themselves beautifully to any kind of theme and space. They allow a sense of multiplicity, letting me build on diverse textures, colours, and shapes.
The materials used are not necessarily organic because most of them will be subjected to different climatic conditions, they should be strong enough to withstand the rain, the sun and adapt to various climatic conditions.

The Facade Around the Idol of Lord Bahubali, Mahamashtaka Abhisheka, Shravanbelagola

The work takes on a sacred form of expression, it embraces symbolism by incorporating Ashtamangalas which are the auspicious symbols of objects highly respected by the Jains and used in various religious contexts. It has the Jain symbol which has a hand with the wheel on the palm symbolising ahimsa and the artworks are coloured with the Jain flag colours.

Few of your notable clients and your experience working with them

All of my clients are unique so they are all very special to me. There are a few works which are close to my heart, like the one we designed for Mahamastaka Abisheka. I was the first woman in 1000 years to have worked on the backdrop for the deity. For me the project that gave me immense satisfaction was the facade mural at Dwaraka, it being the largest artwork. The custom design portrait of Dr TMA Pai is another favourite. Most of my artworks are designed to communicate the message of the brand, space or a company.

About being rewarded Goldman Sach’s and Fortune Global Women Leaders Award

That is the catalogue range something which I am passionate about. There is a huge lacuna in finding the right artwork to adorn your living or working spaces. There are a very few options available so my intention is to create artworks which are so unique that everyone finds at least one artwork that resonates with them.

How would you describe your workspace? How does it influence your work?

My workspace is a very positive, high energy space. It has a lot of our creations and samples all around. I generally like working in complete silence as ideas keep tumbling in my mind so I generally work like a frenzy to structure them all. And then I have the production side of it which happens with a lot of pre-planning in the mind and then I have lengthy discussions with my team to get them on board with an image of the end result in mind.