THE THIR­TEENTH PLACE

Domus - - CONFETTI -

Ac­cord­ing to the au­thor Nancy Ada­ja­nia, “While ex­per­i­ment­ing with dif­fer­ent for­mats, Navjot had dis­cov­ered the per­fo­rated alu­minium foil that is nor­mally found at fac­tory sites. She would place the foil on Gate­way trac­ing pa­per and paint through the per­fo­ra­tions with black ink, let­ting the ink seep through the holes. On re­mov­ing the foil she would get an ‘in­for­mal, in­com­plete draw­ing’. The flow­erseller [be­low], the mi­grant [right] and the cou­ple who cleaned the artist’s com­pound: all ap­pear bruised by soot and con­crete, their skin peel­ing like a scuffed wall. The flower-seller’s pre­scripted destiny is flung at the cross­roads, lit­er­ally, as he stands at the in­ter­sec­tion, mulling over the road not taken. ‘A Mi­grant’ (1977) where the epony­mous fig­ure is shown in a rare mo­ment of re­pose, re­minds us of Navjot’s paint­ing ‘A Break from Inside’. Hav­ing crossed over the lim­i­nal thresh­old of dream, the worker se­cures a mea­sure of free­dom for him­self.’’

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