Important Notice

Manisha Parekh’s versatile body of work ranges from elegant minimal paintings to unconstrained site-specific installations. The essence of Parekh’s works, whether limited to, or extending beyond the canvas or board, has always been the fluid rhythmic structure she creates though her use of harmonious forms.

Referring to these forms, artist Lin Holland says, “The cyclical germination of growing forms is perhaps an appropriate metaphor... Manisha Parekh’s versatile body of work ranges from elegant minimal paintings to unconstrained site-specific installations. The essence of Parekh’s works, whether limited to, or extending beyond the canvas or board, has always been the fluid rhythmic structure she creates though her use of harmonious forms.

Referring to these forms, artist Lin Holland says, “The cyclical germination of growing forms is perhaps an appropriate metaphor for Manisha’s practice. There is continuity, coupled with evolution. A tremendous amount of work happens below the surface (unseen) and time is an essential ingredient in order to reap the full rewards of her labours. Her practice could be regarded as having parallels with a botanist, as somebody who studies, annotates and collects specimens in order to understand specifics, difference and subtleties of species” (“One to One”, Shadow Garden, Saffronart and Berkeley Square Gallery exhibition catalogue, 2006, not paginated).

In the present lot, a work in 125 parts painted individually with Chinese ink and gouache, the artist repeatedly distorts the common oval. The multiple, globular images contained within the work appear to evolve and regress, albeit in no particular order. Nevertheless, each surging individual oval, composed in either two or three dimensions, illustrates a kind of cycle, a continual process. The innate texture and colour of the handmade paper that Parekh has used here, appears coherent with the organic nature of the painting, as its pulsating, rhythmic cycle generates a calming and meditative effect.

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