Tyagi is working on an installation for a sports academy outside Mumbai and has launched his Gyan Mudra series.
Mumbai's Aashish Singh Tyagi is not just an artist but also a filmmaker and a designer. He has been part of films ranging from Ek Chalis Ki Last Local to Dum Maaro Dum to working on the documentary 100 years of Bollywood for the Cannes Film Festival 2011. He is well-known for his art as well and today, there are numerous works of his that are displayed proudly at the T2 terminal, Mumbai International Airport. Right now, Tyagi is working on an installation for a sports academy outside Mumbai and has launched his Gyan Mudra series.
In an exclusive chat with dna, he talks about the Gyan Mudra series, art in public space and more.
What is your series Gyan Mudra about?
Gyan Mudra is a mudra that one holds while meditating; it opens your mind to knowledge and wisdom. On the mudra are stories from our mythology. Ancient Indian philosophy says that man is the microcosm of the Universe. What exists in the universe exists in man. Knowledge of the macrocosm draws us out of our little lives to stand in a wider world, feeling awe before the grandeur of nature, the cosmic movements and the potential to integrate the great and the little into a life that appreciates both and can move from one form to the other seamlessly. Our mythology is littered with anecdotes and wisdom. It’s important that these stories always stay with us in these rapidly changing times. While working with filmmaker Shekhar Kapur, I got the opportunity to work on his installation ‘Water’ at the Mumbai International Airport along with Rajeev Sethi, Scenographer and Curator of the whole Airport Art Project, the largest public art project in South East Asia. It was during this time that I travelled the length and breadth of India along with Rajeev Sethi to document and archive Indian art, craft and artifacts, for over two years. It was the most humbling journey to see the fine work that happens in India. I fear this will not be the case for too long as most children of these craftsman do not want to take the profession ahead due to lack of remuneration. Gyan Mudra Series came out of these travels and its my endeavour to create something meaningful and beautiful that’s rooted in our mythology that I grew up on, in collaboration with these craftsmen. Its my ode to these craftsmen and the fine work that happens India and, in a small way, preserve our heritage.
What inspires your artwork?
Life. Art has the ability to make you think and question. Space intrigues me and I love the impact of it on us. Anything out of context creates an internal dialogue, I think the mind is always trying to make sense of our situation by giving context, anything away, creates disturbance and thus an urge to find new meaning by creating newer or familiar context. The given space influences my art. The artist is a medium. As an artist one has to open him or her self to the space and an interaction happens between them giving birth to a piece of work. Utility and art is the ultimate collaboration particularly when imagining Public Art for Rural India.The mind is looking for harmony but harmony is not a solution, it’s rather a state, like dusk is the harmony between night and day.
In Western countries, art in public spaces is very common. Why do you think India lacks it?
India is an old civilisation and if you were to look back in time, public art was essential while planning most big cities across India. With changing times and India’s changing economic situation, the elementary requirements were given more weightage like roti, kapda and makaan. A society needs social dialogue and public art does that. Most Indian societies are hierarchical and the conversation is mostly based on primary existence like food, education, TV and films. Public art can create a new dialogue within a family. Grandchildren to grandparents can have an independent interpretation of a piece of work on the road or a park without being right or wrong, thus creating space for new meaning. Every evolved society needs to have freedom of speech for evolution and creation of new ways to look and understand life around them. India needs public art. We need to have art all around us. I am very pro public art and want to spend my time perusing it. I request big corporates to come out and support public art to benefit the society.
Do you think Indians appreciate contemporary artists?
There is nothing not to appreciate about art per se. Developed societies have the luxury to spend their time engaging with a variety of art interactions. India is still developing, finding itself yet again. I think we are a very evolved society. Look at our films. In a given linear narrative, we jump into a song and dance sequence that could be out of context. Once it finishes, we come back to the old narrative and no one in India will bat an eyelid as to its incoherence. Engaging with art is similar. India just needs to have lots of it around.
Can Indian artists break into the global art scene easily?
Of course! In fact, Indian artists are doing pretty well across the world. I feel in the coming decade a lot of Indian artists are going to be in the top bracket.
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