Nisha, the abstractionist, through her nonfigurative approach tries to connect this mortal world to the Immortal-The Supreme Delight, employing her exquisite style- the micro world of dots, the molecules.
In her works, there is a suggestion of forms- like a tree in full bloom, a human visage and a circular settlement of homes or a colony.The works, however, are open ended and do not specifically deliberate on one particular form or reading. As it were, the image texts reveal themselves to the viewer through an associative reading matter, as we have seen in the works of abstractionists like Paul Klee who was fascinated by the ambiguous semiotics of oriental characters and their oscillation between abstraction and imagery.
Also in some canvases the subtle hint of calligraphy makes its appearance in words that evoke God the maker, the supreme one who according to Nisha presides over all that is natural, orchestrating the forces of creation and destruction in Nature, thus making the circle of life is complete.
Her journey as a painter began in the late 1990s in the sylvan village of Banasthali, near Jaipur in Rajasthan. She went on to study as a printmaker and graphic artist, hence much of her practice as a printmaking informs her approach to painting and has morphed into her discipline of painting on large canvases. While she enjoys the sensuous drip of paint across the canvas, the printmakers’ fascination with texture marks the surface of each canvas, as dots of paint rise out in full relief and thicker layers of impasto colours create consistency on the painted surface.
The artist paints in acrylic on canvas. Her usage of a wide range of colours sometimes sparkling and vibrant in contrast and sometimes lusterless and softened,allegorically, present assortedincarnations of nature in connection with varied moods of humans. I feel, the vivaciousnessof colours and the impressions of textures also take one effortlessly to colourful Indian textile arena and the effervescent culture, the inveterate roots of the artist.