Amor Fati
Niyamat Mehta's art captivates with its raw authenticity, eschewing the constraints of polished commercial aesthetics. Her sculptures embraces the story of her long yet fulfilling process. From her distinction as the youngest artist featured at the Pallazo Albrizzi during the 2022 Venice Biennale to exhibitions at prestigious venues like the Kensington Town Hall in London and Artesfera di Valmadrera in Rome, Mehta is carving a formidable presence in the art world. In our conversation, we delve into her journey as a young artist, exploring the influences that shape her work and her foray into sharing her artistic vision through teaching.
When did you first realise that you wanted to be a sculptor?
I started very young. I was in boarding school. They had like a sculpting studio there and I used to just go and sculpt. The teacher over there was extremely well-versed with the world of art. She wrote to my parents saying that this child has to go into the arts. They took it extremely seriously and that's how it kind of rolled out. I was very clear about one thing that I have to enjoy what I do. I also did an apprenticeship in Italy when I was 16. That gave me more surety of turning my interest to a career. I went back to Florence after I got admission into the Florence Academy of Art later and got my formal training.
Since you have put up exhibitions both in Europe and in India, how do you think Indian art landscape is different from the European art landscape?
There's a social economic change happening in India right now. There's a lot of money coming into the country and people are spending a lot of money, which means that they primarily spend on luxury items such as art. I think art in India is really big with so many major art fairs across the country. There's a lot of potential here.
Your work is also hugely inspired by Salvador Dali. How did you get introduced to him?
While I was in London, I was writing a paper on Salvador Dali. And I was very mesmerized by his journey and how he took inspiration from very basic things in his life. For example, I remember reading somewhere that he had checked into the St. Regis in New York and was eating fried bacon for breakfast and that's how he kind of ended up putting a piece of bacon in one of his paintings. Also, his style is so unique. And it wasn't just his art—it was also his personality. He was very flamboyant. He didn't care what people were saying and what people were thinking about him. He was very big into media and PR. People tried to pull him down by calling him crazy and making fun of his moustache but he used to proudly say that's who I am. I think that's so cool because there's zero insecurity over there
Your sculptures also have a very raw surface and they are not polished, what is the reason behind this artistic choice and what is the process?
For me, I think it's very important for the viewer to understand the story of the sculpture. And a little thumb mark here and there, or a tool mark, takes you back into the process, even when the sculpture is finished. My process starts with a sculpting clay and I make a mould of the sculpture using silicone and plaster. I take the mould to the foundry where I cast it in bronze or hydro resin, and then I do the paint. It's a long process—takes about a month.
You also conduct a lot of workshops—and not many young artists do that, what inspired you to teach your art?
I started my interest in teaching when I was in Italy. When I was in the advanced year of training, I used to go into the first-year studio to work and I would interact with students there, and if they need a critique, I would happily give suggestions. I think it's a very noble job to do—it is more humbling than anything for me when somebody comes to me and asks me to guide them.
Words Paridhi Badgotri
Date 22.03.2024