In all my years of working in the field of Indian contemporary art, I have never met anyone else with the consistency and determination of Vinita Karim. We have a connection going back over the decades. Vinita, with her impressive body of work, has provided the bridge between the urban matrix of the cities she has inhabited in the past couple of decades, which has begun to be seriously collected in recent years.
Vinita’s art celebrates this diversity that stems from a deep respect and appreciation of different cultures which meld together in our interconnected world. Vinita’s work has always been appreciated, and has mysterious and intriguing aspects. Her work has changed amazingly, grown and evolved, with different mediums reflecting her environment, which seems to serve her well as her muse.
What I see in her is a confident artist aware of herself and her role with its unique voice, relentless in its ability to measure artistic depths. From her landscapes, her paintings have morphed to embroideries, found objects, and, now, a newer direction with mineral pigments. Shapes were shed and formed, landscapes appeared, and soon an outpouring of colour began to inform her work. Always a strong colourist, reflected through her palette which flowed across her canvases, she has interestingly added layers to her body of work by involving local artisans of Bangladesh and India for her recent series of work. I heartily acknowledge the fact of giving them recognition and a platform for their livelihood during the time of the pandemic