Important Notice

A talented draughtsman, Anju Dodiya frequently uses the self-image to reference the struggles involved in the process of developing and deconstructing ideas and images and, more specifically, the complexity and violence of her own creative process. However, according to Ranjit Hoskote, Dodiya’s large-format watercolours go far beyond self-portraiture. He notes, “While the artist-persona, the self-image, operates at the emotional and formal... A talented draughtsman, Anju Dodiya frequently uses the self-image to reference the struggles involved in the process of developing and deconstructing ideas and images and, more specifically, the complexity and violence of her own creative process. However, according to Ranjit Hoskote, Dodiya’s large-format watercolours go far beyond self-portraiture. He notes, “While the artist-persona, the self-image, operates at the emotional and formal centre of her paintings, Dodiya also cultivates an extraordinarily wide gamut of reference within which to activate the deep impulses, the psychological disquietudes and private satisfactions, of the self. She invokes, with felicity, the floating world of the Japanese ukiyo-e woodcuts and the refinements of the Gothic tapestry; she takes the symbologies of the medieval Central European almanac and the 20th-century French cinema, and produces a third space of significance from their encounter. These are not sources cherished for their own sake, but fictive amplifications of the self” (“A Compass with Ten Directions”, The Artist Lives and Works in Baroda Bombay Calcutta Mysore Rotterdam Trivandrum, Galerie Mirchandani + Steinruecke exhibition catalogue, 2005, not paginated).

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