Abu Dhabi-based artist shares how the UAE has inspired her sustainable artworks

It is difficult to box Vandana Sudhir’s work into any neat categories of art. Does it conform to the principles of realism? Is she an abstract artist? The Abu Dhabi-based aesthete is someone who has successfully experimented with everything, but what exists at the heart of all her works is a celebration of what it means to be human — how we react in moments of agony and ecstasy. A staunch advocate of sustainability, Sudhir's works themed on COP28 married two key ideas at the heart of UAE’s public policy — sustainability and tolerance. In an interview with Khaleej Times, Sudhir, who has studied child development and psychology, talks at length about her process and how impermanence defines her art. Edited excerpts from an interview:

What drew you towards art?

For me, it was not one but rather many experiences that drew me to art. One of my first memories is staring into a book of abstract art illustrations when I was four. The visuals were stunning, and I used to transcend into another space just by looking at the abstract art, the cubes, and the colours. It intrigued me how placing a few colours here and there, at odd shapes, and fitting into the most predictable spaces could make imaginary images look at me so interestingly.

I also recall an art competition at my school when I was five years old. At school, I was one of the youngest in the category. We were asked to create a scene describing a rainy day. I drew what I could, but my painting was all gray and smudgy, full of little details as I had always seen puddles and splashes of water and rain. When I saw older and more seasoned artists draw vivid pictures of people with umbrellas out in the street in colourful clothes, I choked out of shock because they were all so well-prepared with the topic and the characters that filled their blank sheets. At the end of the competition, they gave me the second prize, which was a huge surprise and I remember sobbing in disbelief. However, that small incident convinced me that art was not always about colourful images or stereotypical forms and features. It was about imagination. It was about the idea that you put across.

In your artwork, one sees a range of styles. Timeless Essence is as realistic as it gets, while Friends has an abstract appeal. How do you navigate all these different styles? Does style dictate the theme or vice versa?

I have not restricted myself to any single approach, and this balance augments my energy as an artist. It provides me with the freedom to freely express myself with a range of emotions, however abstract they may seem. If I have the freedom to choose, I usually choose a new style, a new medium each time to steer clear of boredom.

Besides, art is pulsating everywhere. If you start to look around, it is as much in a piece of furniture designed by a Danish designer as it is in the withered, rotting, textured leaf lying on the ground. The craving to do something innovative each time I see inspiration around me, comes from within. It is what decides what style I’d like to adopt for a specific piece of work.

For example, the life-size picture of the woman in Timeless Essence is inspired by the memory of a man resting on a bench. The abstract style in Friends emanated because I just didn’t want to paint five happy figures looking at each other in a realistic style. It would be too boring. It would be too cliché.

And finally, I always look for novelty and uniqueness and that’s what I represent as a human being as well. My choices in life concerning my lifestyle are as non-traditional or unique as my artwork, and vice versa.

You have studied psychology and child development. How does proficiency in these disciplines influence your art?

Art is expression. It is a medium we choose to communicate our feelings to others. Psychology helps us understand how we — and others — think, act and feel. So, my understanding of the world around me helps me develop my artistic sensibilities and brings humanity to the subjects I portray.

Reflecting on my background, my degree in child development and psychology led me into teaching. I have taught at many levels, and I have seen my personal growth in observing human behaviour. This enabled me to develop a deeper sense of empathy for people of different cultures and abilities, to choose how I want to portray my characters.

One sees a lot of female forms in your work. Is the celebration of femininity important to you?

Absolutely. In my art, I want to reflect the qualities of my fellow women that inspire me. For me, the contemporary woman is ready to stand up for herself and has the power to become anything she wants to. My collection of International Women’s Day artworks represents women as emerging strong-willed, resilient and courageous.

I also believe each of us is on a journey of self-exploration. What I portray in women is not their looks or their physical form. I am constantly searching for the soul that represents them, the feelings they experience, and their emotional journey. You see, there are two ways in which human beings develop. I relate easily to authentic women, empathetic women, and those sensitive to human values. The women who exude power from these values. And of course, it gives me joy to be able to portray women.

You have been an advocate of sustainability. Why is that so important to you?

The answer has a lot to do with the context. I grew up in India, the land of Mahatma Gandhi, among others. From very early on, Indians are made aware of the gaps in our society and the fact that some severely lack the same things others may take for granted. We are careful and conscious consumers as a society. Therefore, it is painful to watch overconsumption. I believe if everyone can utilise their resources with care, there is plenty on earth for all. And that is true not just for material goods, but also when we talk of community resources, our unique cultures, our specialised arts, etc. When we think of globalisation, my broad perspective is that situations like Covid-19 and climate change have forced us to think of how best we can stay interconnected and interdependent. They also taught us ways to use our resources sparingly. Our need to come together and share natural and man-made resources, ideas, and cultures, while maintaining our uniqueness, is even stronger than before.

It used to give me immense joy to hold workshops on how to work around available resources. One of my early sessions was a series I did with The British Council on paper tearing and tidbits art. Even today, one of my favourite mediums is art created using pieces of textured, and handmade leftover paper. The two artworks I presented for COP28 are a case in point. This is the art that I want to carry forward, explore, and scale up. Here, I can use interesting and easily available textures, colours, and materials to create purposeful, meaningful, and sustainable art. And that is what I would like to do more of in the future.

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