Radhika Khimji uses an ever-shifting array of styles, materials, techniques and dimensions
Save time by listening to our audio articles as you multitaskThe result will feature in Oman’s first pavilion at the Venice Biennale, which opens on April 23rd, alongside work by four other artists. For “Under inner under”, Ms Khimji took impressionistic black-and-white photographs of the cavernous rock face, blowing them up and printing them on thick fabric to make a wall curtain. The visual effect is crepuscular, volcanic and reminiscent of Dante’s underworld.
Ms Khimji’s work is different. A member of a Gujarati family that moved to Oman many generations ago, she is not trying to picture or even describe the world around her. Instead she reimagines it using an ever-shifting array of styles, materials, techniques and dimensions. Admitted to a postgraduate course at the Royal Academy of Art, she steered away from ideas about decolonisation and diasporas—themes that are now almost automatically associated with up-and-coming artists from Africa, Asia and the Middle East. She took up voice-movement therapy, yoga and weightlifting. These helped her get over her failed marriage, she explains, and also to engage in a far more emotional way with making art. She experimented with sculpture, cut-outs and collages.
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