Nalini Malani currently enjoys considerable international fame. Having trained at the distinguished J J School of Art in Bombay, Malani explores the political and postcolonial issues of urban and Third World poverty, decay, exploitation and violence. These complex and difficult themes are brought closer to home through her use of a narrative style and her innate interest in, and profound respect for, the human subject affected by this turmoil. In her 'Hieroglyph' series Malani creates a layering of images produced by techniques she calls 'cloning': monoprints photocopied and worked over in ink, charcoal, watercolour, pen and collage. Malani fashions a complex, layered image which alludes to the multifaceted urbanity of a small street in an area of Mumbai known as Lohar Chawl. She uses her practice to give vision to those stories which history often sweeps aside.
The Asian Collections, AGNSW, 2003, pg.57.
bound book: 34 leaves, 33 photocopied monotypes worked over in ink, watercolour and pen; leaf l is an acetate sheet overlaying leaf m so that these two sheets form one image.
22.3 x 27.8 cm leaf; 22.8 x 29.3 cm closed book; 22.8 x 58.1 cm open book
Signature & date
Signed and dated, leaf hh, l.r.corner, black ink, "...N Malani 91".
Not on display
© Nalini Malani
Shown in 3 exhibitions
Referenced in 3 publications
Victoria Lynn, India Songs: multiple streams in contemporary Indian art, Sydney, 1993, 18, 19 (colour illus.).
Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, 'Contemporary Painting in Urban and Village India', Sydney, 2003, 57 (colour illus.). 2 images from the 'Hieroglyph' series.
Haema Sivanesan, Indian painting, 'Indian Painting', verso of poster., Sydney, 2001. cat.no. 6.16