Q.

Tell us about one of your formative series of work, Rose et Jaune?

A.

Rose et Jaune is a commonly rooted series of paintings and analog photographs.

The series was created in the Summer of 2015, shortly after our wedding. My husband, Jatinder, and I went on for a small journey to South Wales. An afternoon spent on a sandy beach, flowers, the trees, all the seasons seemed to come together. Returning to London, my paintings evolved. The organic shapes I used to communicate transformed into figures of flora.

At first I did not really know what to do; keep this series of paintings a secret? Jatinder and Maureen Doherty encouraged me to present them. With time I also realised there was not - as I initially thought - opposition between my older works and this series; rather they are conversations. My abstract paintings seem to be close and meditative views of flora.

These recent paintings also are more confidently telling my deep attachment to nature and request for us to take care of it instead of repetitively destroying it.

The modular sculptures were directly derived from my paintings and the idea of playing. When exhibited I encourage visitors to touch them, bring them together as families, allowing the mind to rest.

Q.

Tell us about how you moved into the Deep Ecology series.

A.

I began to paint on found papers that I’ve gathered over the years. The series is also inspired by Arne Naess who coined the term “Deep Ecology. Naess is an important intellectual figure within the environmental movement of the late twentieth century. His writings have found a way into my work. If it is not my own research and words, the titles in this series are quotes taken from Naess’ books. The flora within the paintings are ones that I’ve seen in my family’s garden in rural Alsace, or my home in London, as well as plants that I have come across in daily life and from traveling. I also reference plants from a collection of books on botany, which I inherited from my grandfather when he passed away. He was a gardener with a lifelong interest in ecology and in peaceful living.

Q.

What influence does modern culture have on your work?

A.

Communication and collaboration are central to my practice. Poetic Pastel (www.poeticpastel.com) and Journal du The - Contemporary Tea Culture are two cultural initiatives I’m involved in. Projects such as Penser, Manger, Partager (French for to think, to eat, to share) are open invitations to reconsider certain aspects of our modern and frequently globalised cultures where one might feel compelled to fiercely consume non-renewable goods. I respond to modern culture by addressing food consumption, textile production, waste, social inequalities, ecology and animal rights. Modern culture is extremely fast and ever changing, and my practice engages with committed tasks and depicts slow activities such as growing plants, preparing and sharing tea, gardening, etc . I assemble a lot in my practice.

Q.

What are your other hobbies?

A.

Reading, gardening, cooking, tea, cinema, learning languages, traveling, walking.

Q.

Silence or sound while creating? If sound, what?

A.

Both.
Sound: my husband Jatinder Singh Durhailay practicing (he plays Dilruba, Piano, Guitare, Taus and sings) And for years Alice Coltrane, Haruka Nakamura, Nujabes, Christian Scott, Takagi Masakatsu, ...

Q.

Tools or mediums you’re dying to experiment with?

A.

I would like to work with a contemporary dance company in order to create a scenery. I have a background of contemporary dance studies and it is something I feel it is time to intertwine in a more obvious way with my current practice. Hereby I do not mean myself dancing, rather creating for / with dancers and choreographers.

Q.

Regarding your method of making, is it a case of the material or method dictating the idea of the other way around?

A.

The feelings dictate the choices of techniques and materials.

Q.

Have the cities you’ve lived in influenced your practice?

A.

I believe everything leaves a mark, sometimes big others nearly inexistent. The marks, or influences as your referred to, are there.

Zürich perhaps taught me to keep practicing the discipline learned in dance. Berlin I’m not so sure. London encourages my interdisciplinary practice.

The most important lessons and influences are not being taught to me not by cities but by villages, by rural lives in close contact wit nature, by Nature I mean people, fauna and flora.

Q.

What’s one habit you wish you could break?

A.

Forgetting to wear my glasses.

Q.

What do you see yourself doing in 5 years?

A.

Hopefully the same, surrounded by people I admire and love. Communicating the same message of love, respect and compassion for nature and all living beings.

Q.

An artist whose career you admire?

A.

Wolfgang Laib, who was recently awarded the Praemium Imperiale. His speech brought tears to my eyes.

Q.

What is one artist living or dead you feel a great connection to?

A.

Jurgen Lehl

Q.

What's one thing you still have from your childhood?

A.

My milk tooth in a tiny wooden box.

Q.

If you could travel anywhere to create for a while, where would you go?

A.

South Korea and Taiwan.

Q.

What motivates you?

A.

Everything.

Q.

What makes you laugh no matter what?

A.

Jatinder and my grandmother’s laugh.

Q.

How many hours do you try and work in the studio per week?

A.

I don’t count. No need to count when you love my dad says.