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Nandini Goud recalls her immediate environs using a narrative device, where a naïve painterly technique shows her freedom in representation. Goud’s paintings and graphics can be seen as an attempt to capture the routi...
Nandini Goud recalls her immediate environs using a narrative device, where a naïve painterly technique shows her freedom in representation. Goud’s paintings and graphics can be seen as an attempt to capture the routine of a typical street in her home city, Hyderabad. At times, her subject comes from her surroundings, her childhood memoirs and the tangible realities in which she lives. There is an absence of imitation as she translates her keen perception into the pictorial repertoire in a narrative style.
She creates a childhood ambience in which one can notice the abundance of bold stuffed images, clever exploitation of visual space and a childlike candour treatment in her paintings. The architectonic structures, buildings, lawn benches, fish ponds and toys are depicted with sensible rendering. A sense of harmless voyeurism can be seen in her compositions as surprising elements prop up and create overwhelming emotive expressions. One of the important aspects of her painting is the objectification and the challenge towards image making, improvising with subtle distortions, in a process of abstraction of mental pictures. Her still life paintings comprise of banal objects and her cityscapes bear self references, portraits and streets. A plethora of ordinary commodities such as toothbrushes, shoes and many more occupy the pictorial space, catering a visual feast for the eye.
BIODATA
Nandini Goud recalls her immediate environs using a narrative device, where a naïve painterly technique shows her freedom in representation. Goud’s paintings and graphics can be seen as an attempt to capture the routine of a typical street in her home city, Hyderabad. At times, her subject comes from her surroundings, her childhood memoirs and the tangible realities in which she lives. There is an absence of imitation as she translates her keen perception into the pictorial repertoire in a narrative style.
She creates a childhood ambience in which one can notice the abundance of bold stuffed images, clever exploitation of visual space and a childlike candour treatment in her paintings. The architectonic structures, buildings, lawn benches, fish ponds and toys are depicted with sensible rendering. A sense of harmless voyeurism can be seen in her compositions as surprising elements prop up and create overwhelming emotive expressions. One of the important aspects of her painting is the objectification and the challenge towards image making, improvising with subtle distortions, in a process of abstraction of mental pictures. Her still life paintings comprise of banal objects and her cityscapes bear self references, portraits and streets. A plethora of ordinary commodities such as toothbrushes, shoes and many more occupy the pictorial space, catering a visual feast for the eye.
Post Graduated from Faculty of Fine Arts M.S. University, Baroda (1993).
Solo Exhibitions
1992 Gallery Espace
1994 Reniaissance Art Gallery
1988 The Guild Gallery, Mumbai
Group Exhibitions
1994 Group Show Of Woman Artist Sponsored By Society For Promotion Of Art, Hyderabad.
1995 Young Artist At Vadehra Art Gallery, New Delhi.
Collections
Peabody Essex Museum, Salem, USA.
Chester Devida Hervitz ; Family Collection, U.S.A
Visited U.S.A during the Indian Contemporary Art Exhibition at Peabody Museum
Travelled UK, Russia.
National Scholarship from Department of Culture, Human Resources Development, Govt of India (1995)
Junior Fellowship from Department of Culture, Human Resources Development Govt.of India (1998-2000).