Simrin Mehra-Agarwal’s works look like some-thing out of a graphic novel. The almost mythical figures are reminiscent of the best of science fiction and fantasy, the vivid colours recall Howie Green’s pop art murals, the juxtaposition and layering summon Salvador Dali and they generally seem hallowed by an aura of commodification. But this is not to be reductive or say her work is derivative in any way. As she puts it, “An artwork is a culmination and an amalgamation of a holistic experience of daily life in which I constantly engage with other oeuvres. My works incorporate the world around me.” And this tendency to absorb her environment and channel it creatively started in her youth. As a child she took to painting the walls of her room till they were awash with every medium she could get her hands on. Inviting her friends to contribute to her wall graffiti, she essentially created a large, interactive work of art.

Her images have since evolved to give a sense of decon-struction. In her current works there is a clear overlapping of strokes that strip the image bare, giving her paintings an almost X-ray like perspective. “By juxtaposing-overlapping various images… I strive to create a union between the botanist, engineer, archaeologist, historian, architect, scientist and politician.” In the intricacies of her strokes one can find cross-sections of plants, ancient text, futuristic constructions and antique objects that form not an organic whole but are almost stratums of sediments without being ostensibly jarring.

Having experimented with sculpture, printmaking, photo–graphy and video, painting remains her niche. “Drawing is the quintessential element in my work. I enjoy the linear, graphic quality as well as the tonality and textural effect of printmaking.” What’s striking about Mehra-Agarwal’s work is its almost photographic impression. “I love photography for its own creative possibilities and for its ability to coalesce with other mediums. My camera replicates reality as seen from my point of view. It serves as a sketchbook, a source and the point of departure in my work.” The frenetic energy of Trance – I seems like a painterly equivalent of an image captured at a slow shutter speed. With her interests visibly piqued by the medium, she plans on exploring digital manipulation and eventually showcasing her photographic works as well. For now though, she has her easels set on a solo exhibition at the Guild Art Gallery in 2009.

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