Lot#15 || Gogi Saroj Pal (b. 1945)
UNTITLED (Female Form)
(1995)
Gouache on paper
Signed lower left
17.50 x 14.00 in
Estimate ₹ 20,000 - ₹ 30,000
DESCRIPTION
Gogi Saroj Pal, a pioneering feminist artist in modern Indian art, delves into women’s lives and desires. Gogi draws inspiration from India’s rich mythology, fables, and traditions. She skillfully depicts mythical and celestial female beings of immense strength like Hathyogini-Kali; a powerful yoga practitioner who asserts their agency in a world where women often face limitations. A significant influence and fascination for Gogi lie in the miniature tradition; especially the exploration of the “nayika bhed” or the heroine. Her “nayikas” offer an intriguing and ironic perspective on the heroines portrayed in miniatures and performing traditions. While traditional heroines are adorned and portrayed as desirable beloveds waiting for their lovers; Gogi’s “nayikas” confidently adorn themselves for their own sake without needing an external beloved. They exude empowerment and self-sufficiency. Intriguingly, Gogi’s artwork incorporates elements like red alta—the traditional pigment visible in this specific piece—and customary bridal markers on the hands, feet, and foreheads of her subjects. These elements serve a dual purpose: they both conform to and satirise deeply ingrained traditional feminine stereotypes.
Gogi Saroj Pal, a pioneering feminist artist in modern Indian art, delves into women’s lives and desires. Gogi draws inspiration from India’s rich mythology, fables, and traditions. She skillfully depicts mythical and celestial female beings of immense strength like Hathyogini-Kali; a powerful yoga practitioner who asserts their agency in a world where women often face limitations. A significant influence and fascination for Gogi lie in the miniature tradition; especially the exploration of the “nayika bhed” or the heroine. Her “nayikas” offer an intriguing and ironic perspective on the heroines portrayed in miniatures and performing traditions. While traditional heroines are adorned and portrayed as desirable beloveds waiting for their lovers; Gogi’s “nayikas” confidently adorn themselves for their own sake without needing an external beloved. They exude empowerment and self-sufficiency. Intriguingly, Gogi’s artwork incorporates elements like red alta—the traditional pigment visible in this specific piece—and customary bridal markers on the hands, feet, and foreheads of her subjects. These elements serve a dual purpose: they both conform to and satirise deeply ingrained traditional feminine stereotypes.
