Born in 1974, brought up in Mumbai, Payal received her first Art Scholarship at the National Board Level
She graduated with a Diploma in Fashion Design from SNDT University, Mumbai in 1994, with several awards for Illustration, Design and Construction.
In 1995 Payal moved to New York City to pursue a degree on scholarship, at the Parsons School of Design. She graduated in 1999 with honors, with a BFA in Fine Arts and Illustration.
After her return in 2002, she completed a diploma at Metafora, an international workshop for Contemporary Art in Barcelona in 2005.
In 2007, she also received Society Magazine’s Young Achievers Award in the Fine Arts category.
Her works are currently on consignment in galleries in New York, Barcelona and Mumbai and in several private collections in the US, India, France, England, South Africa and Belgium.
As somewhat of a traditionalist I’ve always enjoyed the simplicity of paint, the brush and a canvas. Its infinite possibilities and also its limitations.
These works are not quite expressionist in nature, they are structured and there is symmetry. But they are not strict enough to be minimal, they are not clinical nor are they mathematical. They are somewhere in between. The mark-making is organic and intuitive, yet formal.
Of all the aspects of abstraction I find colour and composition the most compelling. Its an escape from the clutter of imagery and freedom from a narrative. But what I enjoy most about the process, is its deliberateness and discipline. And especially the repitition and the pace, which has a quality of focus akin to meditation.
In the end I hope the works can transcend their physicality to evoke a unique response in the viewer.
And I hope that no one has to read this to elicit that response.
Having worked with abstraction and within the constraints of minimalism and structure for a while, it was the right time to return to one of my favourite subjects, studying the female nude. Drawing has always been my first love.
But I wanted to continue to work large and drawing on a canvas presented an altogether different problem for me. I didn’t want to focus on making a ‘good’ drawing. I wanted more to preserve the impulse and expression of a quick figure study on paper, whilst shifting the scale to a much larger format.
So for distance and a little less control, with a pencil tied onto the end of a long stick, I stepped back and let the line take over. Except in the beginning, to plot the drawing, I looked closely at the subject and hardly ever at the canvas. My aim was to retain the pose and the personality of the model but not necessarily the proportions or the perspective.
Once I made a mark on the canvas, the pencil just mapped out the form in a continuous line that had childlike quality and a life quite its own. If at all the line broke, it found a new spot only by visual memory.
From paying attention only to the contours of the body and not on the formal elements of drawing, the pose got distorted and flattened, even exaggerated, but retained the gesture and its energy.
I kept the lines, all of them, even the ones that initially I decided not to keep. And plotted some colour but only enough so as to not lose the quality of the line and the simplicity of the sketch.
The challenge was to maintain the spontaneity, to try not to correct or to perfect, only to record the information the eye saw, to pick only the most important line and shape to interpret the pose.
The result was an abstraction of the human body that was unrestrained and raw. And a drawing with distinct character and it’s own identity.
Line is perhaps the most integral component of form and structure. It is this framework with which the artist visualizes a drawing, sculpture or painting. In its purest form, lines come together to plot a narrative; in a non figurative work, they form the building blocks for the subsequent abstraction.
The marks an artist chooses to make ultimately set him apart from another. It is with this vocabulary that he will create a vision that is unique.
The subject often determines this choice of line. Gestures, contours, movement have the power to change lines. The medium and scale, allow for spontaneity and chance, and give the map texture and weight.
I try, when I draw to let the line control me. I eliminate that which I think is redundant and introduce impulse. I simplify and complicate, flatten and build.
This is a collection of drawings that celebrate line. It’s strength and it’s significance. And a few of it’s endless possibilities.