a free spirited Maverick. upam draws from his everyday experiences, thinks, meditates on what he is thinking about, and transmutes these thoughts and experiences into artefacts as well. Cultures, Cosmos, and Consciousness awe him, and the intricacy with which these three co-exist, keeps him curious. Curiosity keeps him inspired, “Look around and you’ll realise that there is much yet to grasp, and the best part is, to question it all, time and again”. he identifies art as a medium to form Associations between the Real and the Sur-Real, between the Innate to the Acquired; acting as a means where speculation about the multidimensional nature of our world takes place. sequentially, giving rise to elements of storytelling. He is currently at the Ecole supérieure des beaux-arts de Nantes Métropole, Nantes, France.
‘my working process at the moment is an extension of a Perceived Environment based on Drawing, Painting, Sculpture and Multi-media as an interdisciplinary practice. The work normally stems out of forms that we are familiar with and morphs itself with different ideas and gestures in the process of its making.
my approach to art is, in a way, a state of speculation on the process in which any given work (that can be or may be, declared as a work of art) is capable of creating associations (distinctive or not) from an Accumulated Database of pre-existing Vocabulary.
relying in the autonomy of each observer, fertile with a lifetime’s worth of Cumulative Accumulations of Associations, I like to encourage my viewers to slow down, be confused, not to haste unto a conclusion, recall from their memories: feelings, sentiments and questions that are evoked by the chosen forms.
Question in turn the narrative/s that is co-created and the elements that give rise to it based on subjective associations and formal parallels.
question the idea of art to serve a given purpose.
the interpretation of the work/form in question thus, is not dictated entirely by me, whereby no supporting text is provided for to go with the work produced. the results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted.
It is not exactly as though <anything goes> in interpretation but is now less an object to which criticism must conform than a free space in which it can sport. Sometimes I use titles to guide/misguide the observer to enable multiple/varied readings, creating a sort of entry into the process of storytelling.
During the process of research and production new spheres of interest arise and lead to the next body of work.’