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Deepa Chudasama ,Reflections on Chandigarh 2, 2015, hand-dyed cable-ties on perforated canvas,

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Deepa Chudasama ,Reflections on Chandigarh 2, 2015, hand-dyed cable-ties on perforated canvas,

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Deepa Chudasama ,Chandi, detail, aluminium hoop, metaland hand-dyed plastic ties, 2013

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Deepa Chudasama ,Mala, aluminium hoop, plain and hand-dyed plastic cable ties, 2014

ACT NOW collection, Alexander Pringle HIV Unit, London

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Deepa Chudasama,Vital Arts Commission, St Barts' Hospital, London, 2012

bindis, laqcuer on wall

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Deepa Chudasama, Installation View, The Agency Gallery 2, 2011

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Deepa Chudasama, Untitled, cable ties , netting and came structure, 2011, priv.collection

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Deepa Chudasama

Selected Work

Biography/Exhibitions
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Chandigarh loop by Deepa Chudasama is an ongoung series of abstract relief pieces made from industrial plastic components and weaves. The works reflect architectural structures and patterns and rigorous application of industrial materials, however, they also emphasise the hand-made and organic structures. The two elements are not presented opposed to each other but complimentary, as it occurs within architecture. 

Commissioned by Nehru to reflect the new nation's modern, progressive outlook, Chandigarh was designed by Le Corbusier in the 1950s, also containing architecture by Pierre Jeanneret, Matthew Nowicki, and Albert Mayer.  Chudasama takes the concept of the utilitarian modernism to create pieces, which are minimalist in appearance with an underlying nod to craft and non-Western heritage. The use of mass-produced plastic building components such as cable ties are alienated from their original purpose and applied in a craft-like manner by looping and weaving them painstakingly by hand into each other or into netting structures in rhythmic and organic patterns. The technique is applied to wall based works as well as sculptural pieces.  Whilst the industrial nature of the components enforces a certain geometric rigidity, the underlying patterns either are the result of constant layering referencing biological or molecular structures or alternatively patterns taken from Indian traditions such as mendhi (henna tattoo) and dance rituals.  Elements of the artist’s Gujarati roots are subtle influences, not as traditional heritage but in the sense of a creolisation of the artistic language.