The very process of my work is like a riyaaz, says artist Anjolie Ela Menon

Divine Mothers is your ongoing series on Mother and Child, a theme almost every contemporary artist has explored. What is your interpretation?
It is in recognition of what I have been propounding for a long time. I find the role of the mother in mythological stories extremely important. Whether the Virgin Mary or Maya. I always define shakti as 'woman power'. The western view of feminism tries to appropriate male power, but Indian women have a strong sense of power that was not physical but (based) on sacrifice and fecundity. To not only produce, but nurture; important for universal balance.

Therefore, we have such strong images of Durga and Kali in India. But the irony is that in India, women are still treated badly. Often, those nasty to women are women themselves with their draconian customs and ritual, almost like an act of revenge.

Many ask me if it is difficult as a woman painter in India? I say, "No. The only thing I lack is a wife. Someone who watches the studio, fans your ego, washes the brushes and says, 'Darling, can I get you a cup of tea?'."

Many faces from your paintings resemble people you know…
Many of my models are women and children from my Nizamuddin Basti in Delhi where I've worked for 21 years. The women are my friends, I am dadi to all the children, and the goats come into the studio and eat up my paper. I see them daily so I don't have to sit them down to paint. It's only after I finish a painting, I realise, "Oh, this one resembles the lady from house no. 3."

The use of mythological figures can throw up a façade that you are overtly religious…
But I am not. I find the aesthetics of mythology very interesting. The earliest patrons of art, paintings, sculptures was the religious order, then kings and finally merchants especially after the Renaissance. This has been replaced by art in public spaces, airports, stations. I am also transitioning from smaller paintings to large works in public spaces.

I am very taken with the idea of pilgrimage. The recent Vrindavan series came about when I went to immerse the ashes of a very dear friend. I was quite moved by the amount of people who live in austerity, especially young, beautiful sadhavis. Their sacrifice for worldly affairs leaves me with unanswered questions that find their way in my paintings. Then Yatra, was about the level of devotion from people who could be professionals in every day life, but walk 500 miles to complete a pilgrimage, a century-old practice in India. Sometimes, my works are prophetic. I painted Indira Gandhi behind a window of shattered glass, two weeks before she was assassinated.

You never see open-mouth smiling figures in my work. Gravitas is important to me. To achieve a certain profundity, my figures are not jolly. At my age, loss of friends is common. This reflects in my work. I don't fill up every inch because even empty spaces speak. Also, when a muse deserts you...I could not paint the six months I was in Germany. My country (muse) is so much part of my working life. I made 20 paintings the month I was back.

The very process of my work is like a riyaaz. My spiritual life only takes place with the procress of the work I am creating. I work in isolation, don't let anyone in my studio. So, it is hard to paint in public spaces, when people try to talk, engage in conversation and suggestions, press glasses of water or mithai at you.

Have you considered returning your Padma Shri award in the wake of the recent protests?
I was one of the first people ready to give up my award. At Raza saab's Eid party, few months ago, I told our 15-20 artist friends present that it's time to protest. Owing to a family tragedy, I could not pursue the issue. But as of today I say, there is no point! FTII and people like (historian) Romila Thapar have protested, but it is just being swept under the carpet. Nevertheless, we must continue to stand by our principles.

Your comments on the art scene in India
Not much has changed for my generation. But, for the youngsters it is volatile – one minute up and the other, really down. I feel terribly sorry for the young talent who don't get space to showcase their work. I was lucky as a young artist. Critics wrote good things about my work when I was 17 and Husain exhibited 20 of my paintings. But when I went to France as a student, I felt completely stupid compared to the brilliant people and ongoings in the art world. So, if your first exhibition is a success, it is not the zenith.

Divine Mothers is on view till December 31, 2015 at
Art Musings, Mumbai.