Aeny 

Curator: Sonaly Gandhi's "Aeny," rendered in acrylic, presents an intriguing figural study. The composition is striking; the figure's posture immediately conveys a sense of introspection. What draws your attention initially? Editor: I think it’s the grid. I mean, without it this would be a pretty straightforward figure painting, but the grid layered over the warm oranges and reds of the body… It’s so unexpected, and kind of unsettling, maybe? How do you interpret that structural element? Curator: Precisely. The grid acts as a visual system, disrupting the expected flow of our gaze across the form. It’s reminiscent of certain approaches in Cubism where forms are broken down into constituent parts. Here, the grid flattens the figure, emphasizing the two-dimensionality of the canvas while simultaneously suggesting depth through its implied perspective. Note how the grid interacts with the contours of the body. Editor: Right! It almost feels like the figure is trapped, or confined by the grid… a little like a puzzle! Is it commenting on societal expectations, maybe about the representation of women? Curator: That is one valid line of inquiry. Considering purely formal concerns, the grid functions as a counterpoint to the organic curves of the figure. There is an interesting interplay between the calculated, geometric precision of the grid and the fluidity of the body’s lines. The limited color palette further enhances this tension, focusing attention on the relationship between line, form, and surface. Do you notice anything about the handling of the acrylic? Editor: How the colour seems both flat, and yet kind of luminous? There aren’t many shadows or gradients, but the use of the warm reds, oranges, and yellows almost makes it seem lit from within. I guess this would add to the overall feel... What else did you notice? Curator: Precisely! It reveals a calculated approach to materiality. This approach serves to de-emphasize conventional modeling techniques. So, by doing so, she creates a different language of form within this piece. Now how does it influence the portrait, according to you? Editor: Wow, seeing how the structure informs the symbolic is definitely new to me, I was seeing only the grid on its own.