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surita tandon
Medium: ihxSKARpBfxrgbROl
Size:82
Year:1985
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About The Artist
Many people speak of bridging the gap between art and life and by this they usually mean something like making art a reality like the others. Surita Tandon sees things differently; it is obvious from her work that for her daily life has always been invention, fiction, art. Surita’s oeuvre appears as a visual excerpt from Pop-art fluxed with a reflection of contemporary sensibilities combined with extremely shiny, bright and vivacious forms. Her paintings move between the territories of dominant culture, popular culture and sub-cultures.
Began in late 1950s in western hemisphere, Pop—concerned itself with the phenomenology of the screened image and the formation of the subject in a mediated world which has long questioned the notion of art, architecture and design collectively.
Surita, who is essentially a self taught artist, has chosen to read this phenomenon through staging a confrontation between the world of accepted and celebrated icons of seduction historically and the need to introspect the sense of reality that lies beyond it. Multiple, neon coloured flashes of erotic imagery circulate a metaphoric ‘vehicle of desire’. Eduardo Paolozzi’s I Was a Rich Man’s Plaything made in 1947 became the earliest standard bearer of pop art’s ideological marriage to ideas of erotic fascination and voyeurism. On one level her paintings seem like awkward, deceptively simple that often appear to be the artless embodiment of a young woman’s romantic daydreams or seemingly haphazardly flashes of a chic fashion magazine, or frozen glimpses of exorbitant lifestyles and consumerist fancies. A deliberate revelation of the artist’s manipulation in this strength has been through the appropriated regime of the pop art.
