Poorvi Sultania was born in Chennai, Tamil Nadu in 1992. She received her BA ( Hons ) Graphic Design from Central Saint Martins College of Art and Design, University of the Arts London, in 2015. Currently, she is pursuing her Masters Degree in Painting from the Faculty of Fine Arts, at MSU Baroda. She has participated in several shows including the Chelsea, Camberwell, Wimbledon Foundation Group Show in London, in 2011; The Degree Show at Central Saint Martins College of Art and Design in London, in 2015; The Magic of Making, at MSU of Baroda, in 2017; Full On! Film Festival at MSU of Baroda, in 2018; Nasreen Mohamedi Award Display at MSU of Baroda, in 2018 and 2019; The Environmental Situation Room by Kala Chaupal Trust in 2020. Recently, she has been on the jury of Design Innovation 2020 (DI2020), UK. Poorvi is participating in an International show coming with Frederique Hutter Art Concept titled ‘Sur Papier’ in Zurich, Switzerland in October, 2020. Currently, she is a Summer Resident at Space Studio, Baroda. Poorvi lives and works in Bangalore, India.
Poorvi has lived in many cities over the last 15 years. She has always looked for a sense of home in all these cities, but she is still looking. There are a myriad of words and feelings which intertwine in her life and works which help her make sense of the marks she makes. But sometimes, she questions – did these marks release themselves from some place or did she birth them amidst motions of drawing? The process of drawing, mark making and painting are all as important for her to understand, as the very notions of intimacy, isolation, compartmentalization and healing. Ideas of home, rest and comfort umbrella the aforementioned. It is a complex web of thoughts and emotions that she attempts to comprehend through the act of collecting, collaging, and ultimately arranging in a manner of design, subconsciously. She often attempts to grapple at the discrepancies in several thousands of realities, which have inhabited time since a photograph was taken. Hence personal photographs act as important references in the very beginning of her process. She also works with found objects, clothes, plants, amongst others things, around her, which feel intimate and personal although they are not identifiable in the works themselves. This act of obscuring is intentional. While one may feel lost due to this, text often interjects to hold the viewers hand and walk them through her works.
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