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Numerous artist focus on these types of communicative artworks to describe the story of either their life or the life

of others. How the image of the artist is created into the public mind is through symbols and how the symbols are viewed by the society. One of the artworks, Untitled no.1 Goddess of Flowers (2003) Sangeeta Sandrasegar is an example of a gender and historical artwork. This is the first artwork from the series of works in Goddnes of flowers. The artwork has reflected on the contemporary discourses of gender and culture by the process of myth making which occurs through such application as public/private and past/present. Sandrasegar s work is concerned with the composition, which includes of culture, sexuality and identity. These have been intertwined in contemporary culture, interpreting and representing these shifts. Sandrasegar s works cast dramatic and evocative shadows which, as the artist has said, act as a metaphor for the shifts, difficulties and mergers of our contemporary wor .The themes are ld explored through research and development of a visual language concerned with shadows.Based on the intersection of differing and clashing cultures, she has investigated the similarities and disparities in histories that are both literary and visual. Her bases are as diverse as traditional Indian miniatures. Through the media of well-based paper cut-outs, adorned with glitter and fantastical shadows, Sandrasegar revels in combining elaborate and erotic tales. As said by Sandrasegar, Additionally I was interested in the juxtaposition of the global and historical concerns. Each of the meticulous artworks echoes the delicate aesthetic of henna patterns, glitter of bollywood, the craft of Indian artisans and working them with contemporary western images. The artwork serious is based upon an Indian bandit queen named Phoolan Devi inHindi, referred to as Goddess of flowers in english. Phoolan Devi was famous because she ran away from an arranged marriage so that she could fought for the female rights in India, and was imprisoned several times for her views and actions. The violence of the story and its savant qualities maintained a connection with the mythological narrative that represent the countries beliefs and raises the continuous questions of identity, gender politics and female liberation. The substantial histories portrayed in the Goddess of Flowers are belied by their fragility and the way in which they appear to float in midair. The henna motif traditionally related to Indian ceremonies is employed as a template for the artworks, (as hands or feet). The foot template comes to Artwork 1. Untitled No.1 Goddess of flowers (2003) represent rites of passage such as exile Sangeeta Sandrasegar journeys and covered landmasses. In this artwork they present narrative functions; the foot physically and metaphorically represents the passages traversed by Phoolan Devi. The following artwork shows the cut-out of a lady which is Phoolan Devi, and flames of fire in front prove the fiercely and violence she had to suffered and the personal abuse she faced. Although she was personally abused she continued to fight for the rights of not only her individually but those of similarly dispossessed and patriarchy oppressed low-caste women. Located on the top of the foot is a parliament, referred to as Lok sabha in hindi. After being jailed for 11 years she was elected as the candidate after explaining her political objectives.

Most of Sangrasegar s artworks tell the story of Indian people and the pain they went through. Her artworks are famous for this speciality of the interaction with the public. Her artworks represent the Indian part of her culture, the values, attitudes and beliefs. Through her artworks, the viewer obtains a feeling of belonging to a culture. The artwork allows the public to focus on the importance of the figure in an artwork. The second artwork, named Moghul Desgin Usha Shah. Shah is India s most famous popular Mehendi artist. These artworks have reflected on the culture, gender and history discourse. Publicly the henna designs have influenced the women widely. Historically the henna design first began with the Egyptian pharaohs. All the symbols in the henna designs have their own meaning. Indian cultural henna designs are those which insist of all the main symbols. The main symbols include: y The Dots are the Supreme Reality. The mysterious matrix in which everything emanates and merges. All symbols begin with the dots. y The triangles facing down around the circle and peacock in artwork three signifies active female principal. Reflects all the feminine-water, fertile valleys, and grace descending from heaven. y Although there are not any triangles Artwork 2 Mogul Bridal Design Usha Shah facing up, they signify the active male principal. It represents fire and the ascent to heaven. y The big circle on left hand side of artwork three represent whole, perfect and infinite. The concentric forms relating to a centre point. By concentrating a circle the viewer penetrates the many layers of reality and moves towards an inner truth. The circle is made to symbolise the sun. The sun inquires a significant importance in Hinduism. It symbolises caring, protective of infertility, hunger, sorrows of old age and death; it is also a symbol of blessing. y The half circle on the leg in artwork Picture three Mogul Design Usha Shah two signifies a moon. It shows the deep and lasting love between partners.

The peacock on the right hand in artwork three and the middle on the foot in artwork two mean a friend, companion while being separated from the loved one. They represent the fertility and good luck. The small flower in the middle of the leg in artwork three is joy and happiness. The flower is one pattern that is used widely by Shah in Mehendi designs. They signify new growth; at the end of a drought and the beginning of rainy season or as a symbol in the bridal Mehendi to symbolise the beginning of a new love and life. The design on the inside on the peacock in artwork three represents board games. In India the popularity of board games have been since time the ancient times. This simple representation of a board game is a traditional Indian Mehendi pattern existing since late 19th century, and continues to be included in the current patterns. The leg is a traditional bridal Mehendi design. Traditional Mehendi designs have special meaning to them and the designs are a combination of lord Ganesha (the god of good luck), traditional musical instruments are located on the top which represent the celebration in the wedding, and the design of the faces of groom and bride holding the instruments point out the design is for a wedding ceremony. The leaves on the fingers in artwork three represent the henna leaves which the Mehendi is made of.

The henna designs are cultural and traditionally applied at the times of celebrations such as wedding or festivals. Women is the only gender to apply this as it is used as a cosmetic to beautify themselves, although men also make use of it in the current time as a tattoo. Mehendi is a custom in India which has been present and handed down for centuries together. Initially used for its healing and cooling properties. To date Mehendi designing has become commercial and is part of many important Indian occasions; in an Indian wedding the Mehendi is a separate day can occasion. Mehendi designing is much more than just designing , it symbolises more than just pleasing to look and feel, mostly known to bring good luck to the person applied on. It is as said the darker the colour the better the luck . Publicly the henna designs have changed by the time period with the new generation come new designs, but in Shah s designs there still consists of that traditional values and beliefs of the people of India. These artworks have publicly impacted by their fabulous and eye catching designs to show the public meaning of the designs. Both the artworks show a feeling to belonging to the Indian culture in their own ways and have made a major effect on the public.

Reference e_sheets.pdf -of-flowers_11.html ure.pdf