New Delhi

N. N. Rimzon, The Round Ocean and the Living Death, 2019–20, fiberglass, granite dust, plywood. Installation view, 2020.

N. N. Rimzon, The Round Ocean and the Living Death, 2019–20, fiberglass, granite dust, plywood. Installation view, 2020.

N. N. Rimzon

Talwar Gallery | New Delhi

An enigmatic figure sits cross-legged in a meditative pose in the middle of a circle in N. N. Rimzon’s sculpture The Round Ocean and the Living Death, 2019–20, which lent its intriguing title to the artist’s most recent exhibition. The statue’s nose and closed eyes are vermilion, offering a vivid contrast to its grayish body. Seven breasts dangle like overripe fruit above a distended belly, merging spirituality and sexuality in a riveting manner. Is this figure a fertility goddess sitting in her charmed circle, or a hermaphrodite mendicant renouncing the temptations of the world? A similar figure could also be spied in the acrylic-on-paper tondo In Saving the Earth, 2017, only here the white figure was faceless, bearing just five breasts above the swell of her stomach, a vaginal gash indicating her gender. Her body appears to form an axis with a troika of primary colors: Before her lies

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