London Artist Mannat Gandotra Creates Dynamic Abstract Systems Inspired by Ragamala Tradition
In a compelling fusion of abstraction and surrealism, the artworks of Mannat Gandotra, a London-based artist, emerge as dynamic, fluid systems that are multi-layered and perpetually evolving. Her paintings incorporate the underlying philosophy of traditional Ragamala art without being constrained by preconceived frameworks, functioning instead as portals to both conflict and transformation.
Art as Evolving Ecosystems and Soundscapes
In an exclusive interview, Gandotra described her spontaneous approach to painting, viewing "madness" as a heightened state of consciousness rather than chaos. She explained how her works are received diversely by international audiences. When asked to define her style, she stated: "I would describe the paintings as sitting within abstraction, with a surrealist logic in terms of automatism. But they are more like systems than images, operating like internal and external ecosystems—almost like a soundscape or a language that is unfolding and that I’m exploring."
She emphasized a sense of dichotomy and dualism within each canvas, which feels self-contained yet expansive. "Each canvas holds a complete universe within them, even microcosms, different internal worlds, or paintings within paintings. But at the same time, I would like to think that each painting extends beyond itself. It extends beyond the canvas, beyond the edges, so that the line in the painting is not only on the surface but inside it, sliding through, gliding through, going toward another dimension."
Reinterpreting Ragamala Painting in Contemporary Abstraction
Gandotra draws inspiration from traditional Ragamala painting while working within a contemporary abstract framework. She reconciles this cultural lineage by viewing Ragamala as a system of thinking about emotion, moods, time, and sensation through imagery. "I’m interested in absorbing and expanding on the essence and ethos it contains. Structural echoes might surface, but they aren’t protected. They’re interrupted or pushed off balance."
She sees miniatures as elegant amalgamations of philosophical questions, functioning as their own musical mode rather than mere visualizations of music. "In that sense, I think ragamalas resist hierarchical structures themselves. My paintings also resist that. There isn’t always a fixed centre or a dominant order in the paintings, or cerebral schemas that close doors rather than open them."
Additionally, she is drawn to Ragamala’s use of color, containment, borders, and fierce linearity. "The miniature, by its very nature, asks you to stand still in front of it, to be fully absorbed by it. Even if it is not expansive in scale, it becomes expansive in our peripheral vision. It becomes a kind of portal through its architecture and complexity. It’s not something you can glance at and move on from."
Spontaneous Creation and the Concept of "Madness"
Gandotra’s creative process begins without preconceived ideas, often starting with a question, sentence, or feeling that needs exploration. "It often starts with a mark, a line, or a wash. The moment that happens, it becomes an ignition point. One stroke leads to another, and the painting begins to unfold from there. Much like improvised free jazz, one note sits on top of another, each one responding to what came before it."
As the painting develops, tension builds through disruptions and ruptures, which she actively incorporates. Her recent exhibition, "Containers of Madness," delves into intense emotional and conceptual spaces. She clarified that this madness represents intensity rather than disorder. "It’s about an uncomfortable state, a lack of linear perception within the painting, and a resistance to stabilisation or tonality within the work."
This madness exists within the painting itself, in the interaction of forms, colors, and lines. "I’m also thinking about atonality and nature’s defiance of symmetry. Colour combinations that aren’t meant to sit together are forced into proximity and made to coexist. Ultraviolet next to a vermillion red that doesn’t want to be there, but is. That kind of containment, of holding things together that resist one another, becomes important. It feels like a flowing river interrupted by rocks. The painting carries movement, but the forms create points of resistance within it, and that friction adds to the madness."
Global Exhibitions and Diverse Cultural Interpretations
Having exhibited across continents—from London to New York to Japan—Gandotra noted how different cultural audiences influence her perspective and interpret her work uniquely. "The interpretations definitely shift depending on where the paintings are being seen. In London, there is often a more theoretical reading, a tendency to approach them through ideas and frameworks. In Japan, I’ve felt a stronger sensitivity towards the architecture of the painting, the movement of the line—whether it is fractured or precise—and the way it is constructed. In New York, the response feels more centred on the image as a whole, the immediate encounter with it."
She finds these differences fascinating, as they demonstrate that her paintings do not adhere to a singular narrative but are shaped by viewers' experiences. However, she emphasized that this is not a conscious intention in her creation process.
Personal Turning Points and Favourite Works
While Gandotra does not have a single favourite piece, she identifies certain paintings as turning points in her practice. "They feel difficult, like they ask something of me." One such work is "The Sore Throat," from her undergraduate years, which she keeps in her living room. "It has quietly haunted me and continues to push me to defy formulaic rhythm, introducing disruptions like speed bumps within the flow and atonality within the painting. It’s on unprimed canvas, where the surface itself becomes a colour. On paper, it might not seem like the most resolved painting, or even the one most associated with my work, but it still sits within that framework, just more skeletal and less flesh."
Mannat Gandotra’s art continues to challenge conventional boundaries, merging traditional Indian aesthetics with contemporary abstraction to create immersive, thought-provoking experiences for global audiences.
