'People should interpret my art in different ways, my works make them pause and reflect': Artist Michelle Poonawalla

Artist Michelle Poonawalla, who divides her time between London and Pune, is showing six art works from her graffiti series at the Women’s Super Car Club of India. The exhibition is on for only one day – February 20 – and is being hosted in collaboration with Big Boy Toyz, a company in Gurgaon that works in the luxury automotive industry. Here is an exclusive interview with Poonawalla whose art will be displayed alongside BMW, Ferrari and Rolls Royce cars. She speaks about the ideas, motifs and issues that motivate her to create. Excerpts: What strikes me about this show is the setting where the art is being displayed. It’s not in a gallery, art fair or biennale but at the Women’s Super Car Club of India. How did this idea shape up? Do you think that the exhibition space influences the reception of art works? Luxury, design and art are complementary industries. It seems only natural that audiences spill over! My family has always had an interest in cars and art. I am glad that more people have the same interest as me. Exhibition spaces do influence the reception to an extent. Not all exhibition spaces are meant to be white cube-like spaces. For example, biennales are all about learning about different types of art and aren’t focused on the commercial aspects. Art and car collaborations like these are focused on common interests and aesthetics. The coming together of art and cars is an age-old collaboration; one complements the other very well. Could you describe the vision, thematic concerns, choice of media and materials for this show? When did you create these works? What led you to pick the colours that you used? I spent a lot of time painting in my garden and studio in Pune, so I was definitely inspired by the change in seasons. My mixed media works have always featured card or metal butterflies. The graffiti series in particular has been inspired by street style, speed, excitement and motion as well. One of the recurring motifs in your art is a butterfly. What draws you to it? Does the same motif reveal new meanings to you when you experiment with different materials and media? To me, the butterfly can be used to depict multiple meanings. It reminds us of the fragility of life, it shows freedom, it allows and gives people a feeling of hope and love, it also can mean a metamorphosis, each spectator takes with them a similar meaning.

What does freedom mean to a person with your multicultural upbringing, socio-economic background, and professional training? Before a butterfly can even be a butterfly, it must go through metamorphosis. It has a period when it is in a cocoon and then it manages to come out a beautiful butterfly. What I took away from this phenomenon was that no matter your upbringing or background, you will probably go through some personal metamorphosis. It may be challenging but you need to get through that to really blossom into yourself. The work titled Cosmos makes me think of Tibetan prayer flags fluttering in the wind. How have others interpreted it? What was going through your mind when you created it? I was inspired by the universe and the butterfly effect. One small action can cause a ripple effect and bring about change. If you compare a butterfly to the size of the universe - it’s really small! However, the butterfly has the power to cause a much bigger impact with just the flap of its wings. It reminded me of how small gestures can make a big difference. The work titled Autumn Graffiti Flutters evokes images of leaves in Kashmir and New England. What inspirations, experiences or memories did you draw on while creating this work? Although this work was inspired by my garden in Pune, I wanted to depict traditional autumn leaves. I spent my formative years in England, and do have many memories of autumn from back then. The work titled Multi-Colour Graffiti Splash seems to conjure up an LGBTQ pride march, whereas the work Graffiti Water Reflections reminds of childhood visits to the aquarium. How do you feel when viewers relate to your work in such a personal, emotional way? I am happy that they have their own interpretations. People should interpret my art in different ways. What is important is that my works make them pause and reflect. How do you look at the legacy left by your grandfather, artist Jehangir Vazifdar? What did you learn from him, and how does that inform your art practice and life in general? I have always painted since I was a small child, spending time with my grandfather who was an avid painter and renowned architect. I grew up hearing about his theories on art, seeing him sketching on his office desk daily. He was my mentor and I am happy that I was able to get advice from him. What changes have you noticed in your art practice during the Covid-19 pandemic? Some artists were unable to paint during this time while others experienced flow and abundance. Could you talk a bit about your recent artistic explorations? The pandemic gave me more time to sit and reflect on my practice. I produced a seasons series in impasto when I was sitting at home in the garden. A couple of months ago, I worked on a postcard project which was later displayed at the Asia Triennial in Manchester which covered themes related to the pandemic and finding hope again. I also made an effort to explore more accessible digital practices which could present my works to a broader audience. My short film Circle of Life addresses the idea of memory and was exhibited at the 7th Mediations Biennale in Poland. Earlier this month, my tiger sculpture was unveiled as part of #Waghoba200, the bicentennial of the last sighting of a tiger on the erstwhile Bombay Island at Gowalia Tank. The artwork addressed the subject of the endangered tiger, and school children from a local Mumbai school were informed about the importance of celebrating the tiger too. My other recent projects have included Masks d’Art - a charitable initiative by Art for Concern to raise money for Covid-19 relief funds; Make Art for Mumbai’s Mangroves - a campaign that invited artists to help amplify the message of preserving Mumbai’s precious wetlands; Breakthrough - a charity working to stop discrimination and violence towards women and girls; and my work Monsoon Magic was presented to the Prince of Wales as part of Elephant Parade in Jaipur and Mumbai in 2017.

You have collaborated with children at The Gateway School of Mumbai. Do you intend to continue working with children with disabilities as you have in the past? Yes, most definitely! I think art is a very powerful tool, I love working with children and for social causes. Chintan Girish Modi is a writer, journalist, and commentator who loves reading. Read all the  Latest News ,  Trending News ,  Cricket News ,  Bollywood News , India News  and  Entertainment News  here. Follow us on  Facebook,  Twitter and  Instagram.