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Justin Ponmany’s paintings find their beginnings in photographs that the artist takes around the house and as he walks or drives around the city of Mumbai. Using unorthodox implements and materials like resin, printer’s ink, hologram foil and epoxy, the artist builds his unique canvases from these photo-studies. Though much of his work focuses on the plastic landscape of the city, in its perpetual state of flux where destruction and construction... Justin Ponmany’s paintings find their beginnings in photographs that the artist takes around the house and as he walks or drives around the city of Mumbai. Using unorthodox implements and materials like resin, printer’s ink, hologram foil and epoxy, the artist builds his unique canvases from these photo-studies. Though much of his work focuses on the plastic landscape of the city, in its perpetual state of flux where destruction and construction are never ending processes, Ponmany also contemplates moments of repose in which its residents make expression of their loves and losses.

In this piece, Ponmany contrasts the intimate with the immense, the private with the public, both in terms of its subject and its construction. A diptych, Death Ring poses the enormity of death against the intimacy of the phone call that relates it. In the left panel, a skull curiously shares the tabletop with a phone, prompting viewers to reconsider what they take for granted, including the oft-ignored ringing of a telephone. The right panel, though devoid of representation, is integral to the work; the hologram field, populated by a single abstract form, serves to reinforce and complete the juxtaposition that Ponmany began to develop in its other half.

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