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SCULPTING IDENTITIES

To leap beyond imposed restrictive limits of existence is precisely what Dimpy Menon’s artworks speak of

The human body is the literal and metaphorical vehicle for my expression” says Dimpy Menon whose philosophy of movement is equally a philosophy of the moment. Among its elements – since we are talking of the human body – there is grace, contortion, gentleness, abruptness, delicacy, control, and a slew of possibilities. Dimpy is inspired by life and all its splendor. To her, the human body in its fluid form is the primary focus and that is exactly what she brings out through her work. Inspiration

Her work is a pause between two breaths. Like that moment when the extraneous noise fades and a needlepoint of light begins to expand, liquify, and pours itself into the hollows of the being.

As she says, “You can create anything you want. I choose to create joy.” This is the keynote of her creative process. She recounts a time when just the exuberance of inspiration was an end in itself. The toil was not as fulfilling as it is today.

The lyrical protagonists of sculptor Dimpy Menon’s latest series- Breaking Bounds rejoice, meditate, dance and luxuriate in the lightness of their being. The work speaks about embracing oneself, in the truest form, breaking all bounds, and going out on a search of the unknown. Dimpy also captures the spontaneity and exuberance of a relationship between a man and woman perfectly. In her artworks, men and women extend their limbs, striking a pose on an orb, beyond the imposed limits of existence. What you take away from these works is the aftertaste of fruition. And the lingering sweetness of the thought that this is an artist whose soul is at home in the universe.

Embracing change

Dimpy’s artwork is inspired mostly by the stillness, and this stillness at the eye of the storm characterises prayer. These sculptures have a meditative quality and force you to get into touch with yourself. Although it is the human body that tells the story, the subtext of such poetry in motion is this stillness. The sculptures seem as if they are charged with energy, their dynamism stems from the force of a body language uninhibited by facial cues. Dimpy introduces us to the potential in her figures that is at once tense and relaxed. It is the moment that is both the high point of motion and the beginning of stillness. Or vice versa. This balance is at the heart of her sculptures.

This last is significant because Dimpy’s sculptures deal in processes rather than products. There is no finality. Things are in the present continuous. It is as if once the viewer turns away, the figures will continue on their way only to quickly assume their original stances when he looks again. You cannot catch these visual accidents off guard – just as you cannot catch yourself looking away when you stare at a mirror. The figures arrest your attention in the midst of distraction – some subtly, by appearing to relax on a seat when, for all we know, they might have just arrived there in a rush; others more obviously as in the act of falling. Quiet relaxation is at the other end of intense movement, and a part of it. Dimpy is the memorialiser of the moment, investing it with a significance beyond that moment,

Gallery.

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