Mass Adaption by Lionel Openshaw

In September 2015 Deepa took part in a two day pop-up exhibition that explored the notion of the spiritual and poetic through the use of mass-produced and industrial materials.

The Mass Adaption exhibition – spread across two derelict houses at Safe House 1 & 2, Maverick Projects, Copeland Road, Peckham, London – was open from Saturday 12 - Sunday 13 September. A purpose-made audio piece by exhibiting artist and experimental electronic musician Paul Snowdon, aka ‘Time Attendant’, accompanied both Deepa's and Paul's new works. Both artists are painters that have migrated into a more sculptural approach to making and have found common ground, in the use of industrial and mass-produced materials.

Titling his works Don't make eye contact, Paul Snowdon constructs intriguing surreal narratives by combining painting techniques and found objects with industrial materials such as copper, zinc and sandpaper to create explorative, three dimensional 'modular paintings', reminiscent of trophies and medals.

Deepa Chudasama uses repetition as a motif and the application of artisan techniques such as hand-dyeing. Deepa transcends her unforgiving mass-produced materials, creating complex, meditative pieces with an other-worldly charm.

All of Deepa’s exhibited works can be viewed in the Current section of this site, including installation views.

Thoughts on solo show by Deepa Chudasama

Below are some edited extracts about Surya, Deepa's 2013 solo show at the Agency gallery:

“With Surya, Deepa Chudasama is returning to the gallery with new works on an expanded scale. Continuing to work with mundane, manufactured materials, Chudasama's ready-made wall sculptures focus on the value of ‘throwaway’ consumer goods in growing super economies such as India, Brazil and China. Her works are architectural in nature. She frequently refers to the modernist canon as exemplified in Le Corbusier's cityscape of Chandigarh, nonetheless her work remains more ephemeral and temporal. 

Working with structural patterns manufactured by hand but with repeatable units, Chudasama's process mimics industrialised mass production, as in her sculpture Surya made from car wheel trims and cable ties. Paraphrasing low-cost labour methods, for which many Asian factories are sought after, the artist ‘weaves’ structures with plastic ties normally used for sealing postal sacks or industrial ties for engineering. The resulting filigree-type works are as delicate in appearance as they are hardwearing. Chudasama balances methods taken from postcolonial low-cost labour and the ideal of artist-led, unique, authentic production and merges them in her pattern-based sculptural works.”

the Agency gallery website

“Chudasama’s sculptures … have a more restrained sensibility, most of them constructed from masses of plastic zip-ties, the slender strips used to fix things to other things. Here they only loop onto each other, to form chainlink structures: a curtain of white loops hangs from a heading of pink loops; a square mount stretched over with black nylon mesh, the mesh weaved in with a shaggy density of black loops. On the floor, a large slightly depressed ball of white cable ties sits quietly and translucently: glimpses of its inner core reveal flecks of brightly coloured tags – red, blue – indistinct, intangible.”

JJ Charlesworth, Art Review