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布拉帕瓦蒂 梅巴伊尔

Recent Works

About 布拉帕瓦蒂 梅巴伊尔

布拉帕瓦蒂·梅巴伊爾(生於1965年, 班加羅爾, 印度)的藝術實踐靈感取自傳統工藝,重視材料的原貌,以及最簡單的造型,如顏色和形狀。線條是梅巴伊爾作品的主題。她呼應著極簡主義的原則,表示作品最重要的是能夠回歸到材料本身的純粹與精華:譬如銅在她的作品中作為原材料的出現。梅巴伊爾的作品還將工匠實踐和現代主義的考量結合在一起,利用循環出現的元素,如牆和地板上重復出現的線條與間隔。 參與包括由马西米利亚诺·吉奧尼策劃的第55屆威尼斯雙年展(2013年)以及羅馬美國學院舉辦的展覽(2014年)。

Press Release

  • Prabhavathi Meppayil: Recent Works

    London— Pace Gallery is pleased to present Recent Works, Prabhavathi Meppayil’s first solo exhibition at 6 Burlington Gardens and the third presented with the gallery, on view from 26 April to 25 May 2019. The exhibition will feature a new body of work that continues to explore Meppayil’s concerns of modernism and Minimalism.

    “Meppayil’s linear designs in her work are not engendered by manual artisanal means or painterly processes: drawing, facture, and gesture originating either from pointed indentations or from linear metal insertions that singularly define graphic structures. Meppayil’s paintings seem to be driven by a latent desire to leave behind the parameters of pictorial space and its supporting surfaces, reaching for an ultimate sublation of the painterly rectangle in a numinous architectural space.” Benjamin H.D.Buchloh, 2014.

    The descendant of several generations of goldsmiths, Meppayil retains the unmistakable traces of the artist’s hand combined with an element of chance, inflecting Minimalist formulas and intermissions with a profoundly transcendental dimension specific to her setting and craftmanship methods.

    The use of traditional tools, which are essentially geometric in form, is the focal point of Meppayil’s large-scale installation exhibited at the 2018 Biennale of Sydney and replicated in the exhibition at Pace.sb/eighteen consists of gesso and 875 found iron, copper and brass tools, carefully assembled on a wall with a pristine white surface. The individual objects are deliberately arranged in a pattern suggesting a low-relief grid. These objects, conventionally used by goldsmiths in the application of their craft, also allude to postwar abstraction where geometric structures were often used to facilitate non-hierarchical methods of organisation. Three new cast concrete and copper sculptures reference these traditional tools.

    By taking tools that are commonly used in the artisanal process, most of which are obsolete and dislodged from their original purpose, Meppayil reiterates them as art objects while also retaining vestiges of their individual histories. This process also emphasizes their materiality and simple forms.

    Lines and carving also remain a leitmotif in her oeuvre, as Meppayil expresses the necessity to come back to the pureness and essence of the material. These paintings feature copper wires embedded in heavily gessoed surfaces and rows of indented marks left with goldsmith’s tools – most notably the thinnam – used to incise ornamental patterns in bangles. The delicacy of the lines and marks belie the intense labour needed to create these works.

    Coinciding with Recent Works, Meppayil’s piece titled n/eighty nine (2016) will be featured in the forthcoming collection display, Home Is a Foreign Place, at The Met Breuer from 9 April 2019 to 21 June 2020. This exhibition will introduce recent acquisitions by the Department of Modern and Contemporary Art of The Met.

    In rich dialogue with Pace’s history, Meppayil’s reinterpretation of Minimalist trademarks such as the grid recall the visual language of Agnes Martin, whilst her dedication to surface and pure monochromy evoke Robert Ryman. Recent Works will also coincide with this year’s Venice Biennale. The Encyclopedic Palace, curated by Massimiliano Gioni, at the 55th Venice Biennale (2013) included Meppayil’s work, which subsequently prompted the start of the relationship with Pace.