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October 23, 2015

View The Calligraphic Creations By Aiyana Gunjan

Text by Huzan Tata

The artist converts calligraphy to art in her debut solo show

Mixing calligraphy with abstraction, corporate-woman-turned-artist Aiyana Gunjan’s artworks depict stories through strokes. Her debut solo show, The Moving Finger, includes more than 100 paintings in which Gunjan uses verses and lines from various scriptures to add ‘flavour’ to the canvases.

‘She has taken calligraphy to the level of fine art and created a body of work which is deeply spiritual, secular and inward-looking. Her works speak the language of a meditative silence and move along the contours of her personal space,’ says Alka Pande, curator of the exhibition.

5 Questions with the artist, Aiyana Gunjan

  1. Artistic Motivations “I listen to my own unique voice as opposed to the social collective voice while creating art.”
  2. Inspirations “I am inspired by life, by every step that moves me forward. In art, the dynamic beauty of calligraphy strokes in rhythm with the spontaneous flow of watercolours inspires me most.”
  3. On the wall at home “Art and artists, for me, are not limited to the decorative value of hanging a painting on the wall. Every artist, every artwork, says something to me…there is a story to tell of a life so beautiful. The painting is simply an outer expression of the journey within.”
  4. Concerns that find a place in your art “I believe in the oneness of life…my art is about transcending boundaries, of celebrating the diverse colours of humanity. I have taken the calligraphy strokes out of the silos of scripts into the universal language of abstract art.”
  5. If you weren’t an artist, you would be… “I have nearly 20 years of experience as a consulting brand strategist and semiologist. I would in all likelihood still be in the domain of bringing brand and cultural intelligence to the table.”

The Moving Finger is on display at Visual Arts Gallery, New Delhi (India Habitat Centre, Lodhi Road, South, Delhi NCR) until October 27, 2015.

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