Maya Varadaraj, thank you for being able to speak with me today; I had the experience to visit your previous show located at Aicon Contemporary located in Manhattan, NYC. The show was engaging and thorough allowing viewers to critically analyze the works on display. Your interdisciplinary practice engages South Asian material & culture to redefine feminine narratives. How did you first develop an interest in this cultural perspective, and what drew you to explore feminine narratives in your art?
I grew up in India as a U.S citizen and only moved to the United States for undergrad when I was 18. This cultural and political duality has always been a part of my life. My family is rather liberal and I’ve been inclined to think critically and analytically of my circumstances. I often think about the differences between the women I grew up with, the women I went to college with or worked with, and myself.
The first work that I really engaged material culture was “Khandayati” – the installation intended to highlight oppression that is often embedded in traditions. Collage was an important component of the installation, and I built my practice from there.
Previously you’ve received a Bachelor’s of Fine Arts in Apparel Design from the Rhode Island School of Design and a Master’s Degree from the School of the Art Institute of Chicago, can you explain if & how your academic background has influenced your artistic style and approach?
My education in design defines my process, I only approach blank surfaces when I have a thorough plan in place. I digitally collage work, determine sizes, colour palettes, make lots of iterations and then begin the final work. Then the process of painting or drawing or sculpting feels very meditative – I don’t have to think, just make. I also really enjoy the research aspect of design, so spend a good amount of time reading and writing before I begin a body of work.
Growing up in India and now based in New Rochelle, New York, your art often draws from family photographs. How does your personal background influence the themes and choices in your artwork?
Karma was a familiar concept for us growing up. Sometimes it was simplified as moments, lessons, or feelings that return to us when we need them the most. I think about using family photographs the same way – evoking instances and people that are necessary. When I paint them I leave backgrounds and other details vague so that they have a renewed purpose.
Could you elaborate on the significance of using raw linen canvas as the choice of medium for your paintings?
I only started working with linen last year, and it’s really lovely to paint on. I wasn’t planning to leave the linen raw initially, but when I started painting hair and clothing I loved the contrast between the saturated spaces and the more textured spaces. Textiles are also an important part of my family history, so it felt like a moment of alignment when I decided to leave the linen raw.
Your engagement with family photographs started in 2021, inspired by your own prior experiences. For other artists reading, can you provide insight on how you navigate difficult times in life and how one’s personal journey can inform/transform your artistic process?
2021 was a difficult year and my husband and I experienced personal loss. It was a jarring experience – I felt jaded and isolated. At the same time I was resonating with women like I hadn’t before; truly understanding the complexities of our biology, our resilience, even our politics. I was fully confronted with the ineptitude of healthcare and compassion in this country.
I wanted my family around as much as possible, but I also wanted to be alone and feel normal so I would sift through old photographs to keep me company. As unreasonable as it sounds, I was also determined to understand what karma I had accumulated or my family had accumulated to have led to this moment. I felt I could only reason with myself and understand what I was experiencing through my work. I starting painting the photographs I had picked out and incorporating writing into the work. It was incredibly restorative.
Any upcoming events we should keep an eye out for?
I have works being shown for the first time on the West Coast! I am in a group show titled “Now Streaming” at Rajiv Menon Contemporary in L.A.
** “Now Streaming” is currently on display at Rajiv Menon Contemporary until March 3rd, 2024 at 3110 W. Sunset Blvd Los Angeles CA 90026″**
