Gyan Panchal / Against the Threshold

published in Art India, April 2018. Volume 22 Issue 1

Object Lessons

Gyan Panchal’s spare works explore the scope of sculpting – its nature, culture and limits. Anuj Daga is intrigued by the show.

Through which art-related category should one begin to understand Gyan Panchal’s works, presented at Jhaveri Contemporary, Mumbai, between the 31st of January and the 3rd of March? One enters the gallery to not find any announcement or note. Objects lie discreetly in a state of disorder. Sticking, jutting, leaning, clinging, hanging from different surfaces of the gallery interior, they create an estranged setting. Panchal arrests these objects within carefully chosen moments in their respective ongoing lifetimes. They don’t appear to be too crafted, neither are they absolutely untouched by the artist. Are these found objects? Are these staged? Are these created? Are these borrowed? While they may be all of the above, the effortless art pieces at once make one reconsider the agency of the artist in the creation of these works. How does the artist orchestrate these objects as art, or even as things worthy of contemplation?

Each work indexes an action which is echoed in the titles. Works like beating or leaving transport the viewer’s gaze beyond their physicality into the space of ideas and acts that they embody. Alternatively, human actions acquire a shape in these objects. This is quite evident in the screen-printed wrapping plastic or the aluminum thali pressed along its rim. The flattened vests, the folds of which are resin-pressed and sandwiched between mosquito nets or the crafted theatre mask pressed against the raw slice of a walnut tree bark, make us attentive to the journey of the very materials that make up the works. The stained boiler suit hung upside-down over the sanded bucket peels on the floor begins to reveal untold and overlooked narratives about labour.

One of the consistent inquiries evident in the works of Panchal is about the nature of sculpture itself. In this regard, Heidegger’s meditation on what constitutes sculpture may be quite useful. In the essay Art and Space, the German philosopher proposes that the sculpted body, in fact, brings forth the type of space that it configures around itself. In other words, it delineates ‘emptiness’, in turn, defining spatiality itself. In blurring the space within which, as Heidegger points out, “the sculptured structure can be met as an object present-at-hand”, Panchal generates the possibility of it being re-imagined. This blurring can be physically observed in the (dis)play of artworks as painterly objects; and conceptually, in the creation of a space of ideas that surround these and alter the gaze through which the objectivity of the object is transcended. Panchal frees the sculptural object from purely aesthetic frames to address the discipline of sculpture. In the process, he opens up in-between spaces where several ideas of body, practice, art, society and knowledge can be tested. In assuming the position of the viewer across this transitory space, the show may rightfully be understood, in the spirit of its title, as being against the threshold.