The works of Brooklyn-based artist Yamini Nayar employ collage, installation, assemblage and photography to create imagined, psychoanalytical spaces that play with the viewer’s comprehension of the two-dimensional picture plane. The installations are destroyed after being captured on film, thus making the photograph the sole record of the initial creation. ‘It’s similar to filmmaking, where the filmmaker doesn’t care as much about the integrity of the structure but rather what shows up on film’, says Nayar. ‘Because of this, my spaces can be impossible. They can be dream-spaces’. In Underfoot and Overhead, its title taken from a Rudyard Kipling Poem, a precarious wooded staircase leads up to a dark doorway in which a single dim lightbulb serves as the compositional focal point. The work’s deliberate lack of sense of scale and conflicting perspectives transform the image into a hypnotic architectural still life.
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