Carving Multiple Layers to Create Magic

Eva Malhotra in Conversation with Ranjan Kaul

Eva Malhotra is a plastic artist based in Los Angeles, California, whose work includes encaustic and carved work, oil painting, installations, performance, and photography. She received her education at the California Institute of the Arts in Valencia, UCLA School of Letters and Science, Department of Spanish Literature and Linguistics where she was awarded a Bachelor in Arts degree, and the Schools of Law at UCLA and Boalt Hall/UC Berkeley - earning a Juris Doctor’s degree. 

Malhotra’s art has been exhibited extensively in the USA and Mexico – both in solo and group shows, including the Armory Art Fair in NYC, the LA Art Show, UNAM LA, CECUT Tijuana, IMAC Puebla, IMAC Tijuana, Casa de la Cultura Los Angeles, Bellas Artes in Mexico City, Instituto Politécnico Nacional, Lancaster Museum of Art and History, and many others

Ranjan Kaul: While you first went to an art school, you later studied and practiced law while pursuing your art. Give a brief account of your challenges and struggles in your journey as an artist. Any role models?

Eva Malhotra:  I attended the California Institute of the Arts first but dropped out after the first year and received my BA in Spanish Lit at UCLA. I then went to law school at UCLA and Boalt Hall and later practiced law. While I’ve never left the legal practice, I now only work part-time.  I’ve always pursued my artistic practice and art history and theory alongside. I would not characterize my challenges as “struggles” per se, other than the difficulty in getting my artwork shown – but that is not unique to me as an artist.

As far as “role models” in the arts, perhaps that would be Louise Bourgeoise who only got recognition at the age of 75.  That is quite inspiring.  If the question refers to my favorite artists who inspire my actual craft, I think it would be Giotto, Edward Munch, Romare Beardon, Mark Bradford and Francis Bacon. I also love the creativity of “Outsider Artists”.

Árbol Cósmico (Cosmic Tree)

carved acrylic on canvas, 198 x 134 cm

RK:  You titled your series for your recent show at Shridharani Gallery, "Call to the Mystic." Are you evoking the mystic? Tell us more about the series and the inspiration behind the works in the series.

EM: I like to make art that is inspired by the place I will be exhibiting.  For example, when I showed at a museum in Fukuoka, I made a series informed by their ubiquitous aesthetic culture and the essence of the great woodblock print artists like Hiroshige and Hokusai.

When preparing for this exhibition in India, I thought about what India is associated with from our Western perspective, and that it is spirituality and mysticism, and decided to make art informed by my own Mexican ancestral cosmic visions, focusing on that of the ancient Maya culture of southern Mexico and Central America. This culture is extant and the people of that region continue to not only speak their own languages but practice the same rituals, maintaining their belief that everything in the universe is energy.  They believe that whenever someone is “ill” – be it physical, mental, or emotional – it is in indication of an imbalance of energies that they believe are connected to the universe and its astral bodies.  They were great astronomers – having observatories to study and trace the movement of the astral bodies in our galaxy – and believed that we mortals are directly connected to them via these energies.  To this end, they developed over 20 calendars, such as the solar and lunar, including the “long-count” calendar which was based on the cycle of the movement of those stars, planets, and moons in our galaxy.   They access and balance these energies with the assistance of their “Counters of Time” and provide therapeutic sauna baths infused with healing herbs, flowers, and potions, religious rituals like the “sacred fire”, as well as provide a listening and sympathetic ear to the “patient’s” concerns.  These healing sessions provide a sacred space where a mystical experience is fostered.

Essential to my creation of these pieces was learning about the Mayan mythology of creation of the universe, our planet, the oceans, and all their dwellers.  This cosmic vision includes instructive myths which are lessons for human comportment in our pursuit of fulfillment, happiness and peace.

In creating these pieces I also studied religious icons of Christian religious practice and how and why they are able to produce such strong emotions in us.

Luz de la Madre Tierra (Light of Mother Earth), carved acrylic on canvas, 243 x 134 cm

La Luna en el Manglar (The Moon in the Mangrove), carved acrylic on canvas, 274 x 134 cm

Llamado a lo Sagrado (Call to the Mystic). carved acrylic on canvas, 335 x 137 cm

La Contadora del Tiempo (The Counter of Time), carved acrylic on canvas, 243 x 134 cm

In Illo Tempore, carved acrylic on canvas, 320 x 134 cm

El Día que Nació el Sol (The Day the Sun was Born, acrylic on canvas, 251 x 134 cm

RK: How did you arrive at your current style of abstract carved art with its fluidic, textured, and tactile nature? Did it evolve naturally or was it a conscious process?

EM: There is no magic to how I arrived at the process I use to create my work.  It was just my experimenting with the carving tools and the materials of oils and acrylic.  It’s that simple, really. I just layer many colors of acrylic onto canvas that is supported by a wooden board. Then with gauges and chisels I carve it to create my art. The process is entirely organic – sort of like I imagine music is created. I start by making a few marks onto the acrylic and then continue on the basis of aesthetic choices, such as line, volume, color, movement, balance, harmony, etc.  When I finish, I discover what it looks like – then I choose a name for it.

Detail, LIGHT OF MOTHER EARTH, Carved acrylic on canvas

Detail, THE MOON IN THE MANGROVE, carved acrylic on canvas

Detail, The Timekeeper, carved acrylic on canvas

Detail, The Day the Sun was Born

carved acrylic on canvas

RK: At your show I observed that you were inviting the visitors to touch the works, which surprised them. How important is this “touch” for you and in what way do you think it enhances the appreciation of your art?

EM: I strongly feel that by touching my artwork the viewer can establish a deeper connection with it. The viewer “verifies” what he/she sees by running their fingers on it and I observe that this makes a deep impression on them. I feel that it is not only helpful in experiencing the piece but also by removing that barrier that so many people perceive when they visit a gallery. Most people are so intimidated by it that they take a fleeting look at the works and literally flee. I get the impression that the experience makes them uncomfortable. I see the opposite in the people who look and feel my works. They spend a long time touching and looking, stroking it as an exploration of sensation, which is akin to love. When they’re done seeing they come to me afterwards and share their feelings with me, that they felt goosebumps from the experience. Their faces reflect pure delight and wonder. It’s a beautiful feeling! What could be more gratifying to an artist?

When we close the door behind us and not let others in or help other artists we harm art. By not making art accessible to the general public in the most personal way, we create a barrier (a "mystique") between art and the world. This is the most harmful thing we can do to art. I try to keep the door open as wide as possible.

This is how I make my artwork!

My process of creation!

RK: How would you situate your art practice in post-modern contemporary art, which has become quite innovative, diverse and multidisciplinary?

EM: I really don’t characterize my artwork in any way. I don’t know if I belong to any movement. However, I know that it references all art that’s gone before it. I’m certainly influenced by all the great artwork and art theory that I continually look at and study, but my biggest teacher and inspiration is nature.  As William Blake said: “Nature is imagination.”

RK: Tell us about any other interest you may have besides your art practice. Does it get reflected in your art?

EM: I have many interests:  film, literature, music, dance, architecture, history, anthropology, etc.  I have always had a great love of gardening.

Thank you for this wonderful opportunity to discuss my art and my process. 

(All images are courtesy of the artist Eva Malhotra.)

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Ranjan Kaul is a visual artist, art writer and critic, curator, author and Founding Partner of artamour. His works may viewed on www.ranjankaul.com and his insta handle @ranjan_creates.