Nandini Goud

Nandini Goud

Born in 1967, Hyderabad, Andhra Pradesh
Post Graduated from Faculty of Fine Arts M.S. University, Baroda (1993).
Was awarded National Scholarship from Department of Culture, Human Resources Development, Govt of India (1995) and Junior Fellowship from Department of Culture, Human Resources Development Govt.of India (1998-2000).

Solo Exhibitions
1992 Gallery Espace
1994 Reniaissance Art Gallery
1988 The Guild Gallery, Mumbai

Group Exhibitions
1994 Group Show Of Woman Artist Sponsored By Society For Promotion Of Art, Hyderabad.
1995 Young Artist At Vadehra Art Gallery, New Delhi.

Participated in several Art Camps.

Collections
Peabody Essex Museum, Salem, USA.
Chester Devida Hervitz ; Family Collection, U.S.A
Visited U.S.A during the Indian Contemporary Art Exhibition at Peabody Museum
Travelled UK, Russia.

Radically bold, replete with imagery, a brilliant palette, utter disregard for time and space but succinct and direct at once, adopting a childlike directness, Nandini Goud, without any recourse, rips open the delicate discourse of the Na´ve in painting.

A Postgraduate from the Baroda School of Fine Arts (1986-'94), she hibernated for an absolutely long phase from all exhibition spaces, but for a few exceptions during group shows. Otherwise, industriously occupied in her studio in Hyderabad, she has been creating a barrage of works, especially paintings and prints. Now in her early 40s, she has given reigns to her father, artist Laxma Goud, to curate her first solo exhibition. Therefore, the works selected for this show is a retrospect; starting with her early works that inspired Laxma to encourage her to enroll in an art school to her recent works.

Although, it's an emotional experience for Laxma to collate his daughter's exhibition, expediently the artist in him rises above to induce absolute professionalism in selecting the works. For example, the water colour study of a backpack and suitcase (reminiscent of Laxma's first international visit to Europe) is symbolic of the umbilical cord that connects Nandini not just with her father but with the mayhem of Indian contemporary art. Granted it's a simple still life study, this work spells a certain elegance of not just observing and rendering objects but the sensuousness of handling colour which asks admiration for a young artist who is yet to be schooled by academia.

Moving on with the flow, Nandini adopted the narrative approach practiced by the college of fine arts at the MS University, Baroda. In the process she discarded the technical and retained a very subjective style of relaying her content. "I was admittedly inspired by masters like Van Gogh, Marc Chagall and Picasso, besides Egon Schiele and David Hockney" says the artist.

Restating the reference of the na´ve in Nandini's works it would first make sense to define the na´ve in today's context. To quote Atole Jakovsky, an ardent supporter, promoter and collector of na´ve art: "A na´ve painter is untutored and has invented his own expressive and stylistic alphabet entirely unaided. This does not, of course, imply that conversely a 'trained' painter can never be Na´ve. There are "professional" painters amongst the Na´ves, such as Marc Chagall, as well as bad painters, those who paint in a pseudo na´ve manner".

Yet another shining example in this genre of art is Henri Rousseau. His flat, ostensibly childish style was criticized by many at his times. But today none can deny the sophistication with which he painted. If one views it correctly the charm of the na´ve is just classical in nature. Although, recognition to this genre was delayed, the acceptance of a high degree of individualism of these artists cannot be understated. And I place Nandini Goud respectfully in this category. First and foremost the absence of imitation or not being cleaver qualifies her works to be viewed with no filters at all. Her works can be appointed as images of keen observations which are translated into painted/printed documents. Documents, which rephrases tangible reality into two dimensional narratives. For instance, The Gardener portrays two categories of forms - the apparent and the hidden. The buildings, bench, pond and the people structure the story but what provides character and substance to the narrative are the details such as the ornamentation of the buildings, flowers, the aspect of light behind the windows and the fishes in the pond.

Incidentally, Nandi has so much to express that the viewer can easily be overwhelmed with the amount of objects painted on the canvas. But ironically, when the eye starts roving upon the paintings the sense of surprise slowly gives way to a harmless voyeurism which starts surveying the abundance composed upon the canvas. In fact, her still life compositions are a delight for the eye. Starting from the mundane objects such as tooth brushes to flower vases, chappals and more, Nandini makes space for about fifty one and more objects (if I may be allowed to exaggerate) and still has a flair to catch the eye of the spectators. The objectification in Nandini's works stems from her deep aspiration to observe the external. Her, cityscapes, perspective of interiors, people, self-portraits, animals and of course objects portrayals spell a process of internalization from which Nandini diligently composes upon her canvas. "My effort to come to grips with aesthetic issues involved in painting focused mainly on the role of space in pictorial organization". Her voracious appetite of her eye compliments her compositional abilities which so effortlessly come to her. Another truth about this artist, which many spectators may fail to see, is her attitude toward the challenges image making throws at her. Undaunted by the tasks of rework upon existing work, she takes the process of drawing to a certain degree of abstraction which is actually rooted in sincere transcriptions of the registered forms. Some of her prints illustrate this aspect. Discussing colour in Nandin's works we realize her dual play of abandon and restrain. While her still life studies are a riot of colour her drawings and prints display a sagaciousness which merely comes with maturity and professionalism. This might be Nandini Goud's first solo, but it covers up a long lacuna of time.

Providing vignettes of her growth, from her student day to present times, this show is pregnant with new possibilities the artist have already initiated upon; the attempt to economize her imagery.