Roopini Venkatasubramanian
Artworks
Divine Love in Light
Indian miniature styled stained glass panel with metal oxide and silver stain, soldered with lead
73.5 x 58 x 17 cm
Anklet of Krishna
Encaustic tiles with terracotta clay and white slip
90 x 89.5 x 3 cm
Shatkona – The Six Pointed Star
Encaustic tiles with white clay and terracotta slip
68.5 x 59.5 x 4 cm
Artist Statement
I hail from Tamil Nadu, the southern state of India. My academic background in theoretical physics encouraged me to delve into the microscopic concepts of nature, deepening my inclination towards spirituality. My traditional art practice allows me to see the work of science in theory, the innate sacredness in every action, and the divinity in the beauty of creation.
In the spiritual path of Bhakti (devotion), “Namasmaran” – remembering/ repeating the name of the Lord is one of the practices that keeps us tied to the Supreme conscience. When I was introduced to the medium of ceramics in the first year, I remembered the potter devotee of Lord Vittala (a form of Krishna), Gora Khumbar (13th-century saint), who would stamp clay by chanting the name of the Lord incessantly. Working with clay guides one internally into the Spiritual realm due to its primordial elemental quality. When I worked with glass, I was inspired to see Form through Light. The inherent philosophy of light emanating from darkness can be seen and experienced in this practice. Indian miniature painting, on the other hand, resonated with me due to the practice of lines, forms and intricate details in repetition. For my second-year project, I am focussing on these three media: ceramics, stained-glass, and miniature paintings to learn, realise and grow from within. All these media employ the practice of repetition, be it the repetition of processes or patterns.
Back home, drawing Kolam – the traditional floor diagrams was my first seed of art practice and creativity. Kolam is an art form involving rhythmic repetition of sacred geometrical patterns. It is drawn using rice flour pinched through fingers onto the floor, specifically on the threshold and altar space of the household, as an offering to the Divine. For my second-year work, I present two encaustic tile pieces representing the profound beauty of these sacred Kolam patterns. The piece “Anklets of Krishna” follows the theory of fractals- repetition of self-similar patterns. When I listened to the verse “anoraniyana mahato mahiyana” (God is smaller than the smallest and greater than the greatest) from Purandaradasar’s krithi (15th-century Bhakti poet’s song Jagadodharana), it resonated with the concept of fractals. Whether something is vast or tiny, it comes from the same Divine source, indicating the Omnipresence of the Supreme. The encaustic piece laid as the “Breath of the Compassionate” pattern conveys this profound meaning.
My second piece, “Shatkona”, is a six-pointed star signifying the union of male and female energy represented by the upward and downward-facing triangles. The individual triangular tiles contain a Kolam pattern known as Saraswati (Goddess of art) yantra, which follows the theory of iteration, representing the seven strings of her Divine instrument.
My third piece, ”Divine Love in Light”, is an Indian miniature-style stained-glass panel inspired by a Siyah Qalam (pen and ink drawing) Indian miniature painting of Radha Krishna (c. 1800). The figures were inspired by studying medieval stained glass faces and shaded using different miniature forms to represent water, grass, flowers, trees and leaves. The carefully designed border with lotus flowers and leaves is a heartfelt offering to the Divine.
Throughout this journey, the aspect of surrender, with the realisation that we are mere instruments in the hands of the Divine, has been a constant reminder to reflect upon His work and feel grateful to be a micro part in His infinite play.
Biography
Roopini, an MPhil graduate in Theoretical Physics coming from Chennai, India, is a spiritual seeker and practitioner of Indian traditional arts. With a background of research experience in quantum information theory, she has also delved more deeply into understanding the nature of the Divine. She is trained in and qualified to teach classical yoga. Guided by her spiritual master, Shirdi Sai Baba, she owes her career transition and inner transformation in the material and spiritual realm to His holy feet.
Pursuing an MA in Traditional Arts has been an enriching journey for Roopini, aiding her to find oneness in science, art and spirituality. Her artistic journey has involved working with different media, such as ceramics, stained-glass and miniature painting. She believes repeated practice and detachment are the core values of every new creation. Constant remembrance of the Lord through artistic practice is her pathway to seek guidance, surrender, and work as an instrument of the Divine.
Contact
Website https://www.abhyasata.com/
Instagram @sai_krishnarpanam and @abhya_sata
