| There is something
incredibly visceral about Malani’s figures in the way that their
contours come into definition as though imprinted on the surface by an
effluence of the fluid matter that their own persons are made of. She
frequently puts down a figure or a gestural nuance with a simgle sweep
of a full, loaded brush. The figures emerge from the surface in a manner
that suggests their retaining identity as part of the surface, while simultaneously
gaining a defined individuality as figures. There us this remarkable parallel
to the relationship between the individual and the urban, metropolitan
environment.
From the essay " Nalini Malani;The Medea Project and Beyond"
by Chaitanya Sambrani
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essay by Chaitanya Sambrani
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