new-delhi

View of “Transfigurations: The Sculpture of Mrinalini Mukherjee,” 2015. From left: Van Raja, 1991–94; Netty’s Green, 2000; Untitled, 2000; Palm Scape II, 2013. Photo: Ram Rahman.

Mrinalini Mukherjee

National Gallery of Modern Art | New Delhi

View of “Transfigurations: The Sculpture of Mrinalini Mukherjee,” 2015. From left: Van Raja, 1991–94; Netty’s Green, 2000; Untitled, 2000; Palm Scape II, 2013. Photo: Ram Rahman.

MRINALINI MUKHERJEE’S fiber sculptures are efflorescent in both form and technique, gradually blossoming into their final shapes, some standing more than seven feet tall. And her palette—a spectrum of deep greens, yellows, reds, blues, and purples complementing the material’s natural browns—only adds to the works’ lushness. For more than two decades, beginning in 1969, Mukherjee exclusively worked with fiber, producing the strange and singular oeuvre that was at the heart of her breathtaking retrospective at the National Gallery of Modern Art in New Delhi, where she lived and worked since 1972. Like the work of other pioneers of fiber art, Mukherjee’s resolutely physical, organic, three-dimensional creations broke through the gridded rational order and orthogonal frames of woven textiles and tapestries, pushing the medium beyond pictorial conventions into the realm of

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