Anavi Mullick is an artist based in Bangalore, India. She has a Bachelors in Fine Arts from the Minneapolis College of Art and Design (MCAD) (2020), as a Drawing and Painting major and Teaching Artist minor.
Anavi Mullick is an artist and art teacher working in Bangalore, India. She holds a Bachelors in Fine Arts from the Minneapolis College of Art & Design (MCAD) where she majored in Drawing and Painting and minored as a Teaching Artist. She has exhibited work at Gallery 148, the Library at MCAD, Form + Content Gallery and most recently she was part of an online exhibition ‘Anodyne’ at FUS Gallery (link). A selection of her paintings was highlighted in the Irish Arts Review (link). A stay-at-home art activity she created during her teaching residency at the Minneapolis Institute of Art (Mia) is featured on the museum website (link). As a teaching artist, Anavi hopes to inspire the people around her to use art as a medium of expression and as a way to bring community together. When she is not in her studio, she is teaching, dancing, birdwatching or reading about art.
My paintings stem from trying to find a sense of belonging and dealing with transition. Moving to Minneapolis to study art, from Bangalore India, initially I felt displaced and alone. As I make another transition from college student, to working adult, a discomfort and worry of re-adjusting to something new sets upon me. Once again there is a feeling of loneliness. In my paintings I deal with this sense of loneliness, of isolation. I attempt to depict these feelings in my paintings, as I wrestle with them, but also feel positive about them. I paint as an effort to express them and therefore let go of them.
My ongoing exploration of work includes a series of watercolor paintings and a series of large-scale (5’x 7’) oil paintings. I paint a small figure on a large ground, in a monochromatic color scale. In the oil paintings, I use large areas of flat-toned color, to help create a sense of a vast endless space, a sort of void. I intend to make the paintings feel timeless, and so there is no visual cue to indicate whether it’s day or night or where the person is. I attempt to make the imagery universal so that anyone could place themselves in the paintings. The watercolors, though smaller in scale, have a similar composition.
The process involved in determining compositions for my paintings comes from my surroundings, people that I watch as I walk or travel around the city/other places. I find comfort in seeing and watching other people and I take note of certain people that stand out to me. Their clothes, hairstyle, the way they walk, the things they are carrying with them, or the emotions they express; I write these down, and later create fictional stories about why they were there, who they were, where they were going. These stories are influenced by my own thoughts, beliefs, wishes. I make a sketch from memory of how I saw them that day and then paint it. In a way I am trying to get to know the people, making myself feel more linked to the community. The people make the place. And so I feel a stronger connection to place as I, in my own way of observation, get to know the people. I paint people who are strangers to me, but as I depict my personal narrative through them, I find comfort in knowing that I’m not alone. We are together in our aloneness. I seek to find empathy for my aloneness, and I attempt to do this in my paintings by depicting a figure in an isolated and unknown space.
I am inspired by Mark Rothko’s color field paintings, specifically how he is able to sort of trap the viewer/have the viewer feel like they are a part of his paintings. His viewers experience how he felt when he was making the painting, and this is a quality I am interested in pursuing in my own work. I want my viewer to feel a slowness, to feel enveloped by or drawn into the work, visualizing themselves in the space.