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Size: 36 x 27.25 inches
Medium: K3 Pigment Print on Archival Paper
Style: Digital Art
Edition: Edition of 10 + 2 Artist Prints
Signature: Bottom Right in English


Her name appears three hundred times, there are twenty hymns in her praise - the most written for any god or goddess in the Rig Veda, and apparently the most beautiful. She is not worshiped or celebrated, but she is sung for. Like the other early gods of her time, she is made of words, and the ones that created her are said to be the oldest. Finding form in poetry, Usha the new dawn floods the mind, as she looks into every opening eye, every morning.
She is consciousness. And immediately dazzled, we blink – the first sign of a mortal. For Usha and her fellow immortals don’t. We are enticed out of slumber and into another day, as she passes an invisible line of time through us, counting our numbered mornings. An adored bright beacon drawn by a thousand horses, in every shade of twilight, she remains the most desired and notoriously impossible to keep. To know her is to know abandonment, for she always rides past us, towards her sisters – Sandhya and Ratri – evening and night. A goddess eternally connected to the future and the past. Eternally connected to her sisters. A bond made of time, so special it holds all of reality within it, and still, it holds them apart.
She is both, ‘to awaken’ and ‘the awakening’. Not just to enter consciences and make our way through time, but also the illumination that releases us from it. Moksha, vimoksha, vimikti, mukti - she is enlightenment. Bound by time and still timeless, she has looked at mortals, with the same unblinking eyes through eons. A gaze that talks of the existence of evil and the survival of hope, as she listens to our songs, sung to arouse her, so that she might revive us.

About the Series:
This artwork is part of the “Sister Misfortune” series, through which the artist, Smruthi Gargi Eswar, narrates lesser-known stories from Indian mythology, while reflecting on the narrative surrounding women in our culture. Various Indian goddesses (devis) are depicted with a refreshing artistic lens.
In India, there is a constant burden on women to be “Devi-like”. Through this series, the artist attempts a reverse deification of the goddesses, making them appear like real women, in a real world. The series is an exploration not just of duality, but of multiplicity. It compels us to question our attitudes - women towards themselves, men towards women. How does the idea of a goddess coexist within every woman? How do we, as a society, so casually dismiss, disrespect, disregard, and defile in our everyday existence, those who we have bedecked with gold and enshrined in a temple?
  • ABOUT Smruthi Gargi Eswar

    Smruthi Gargi Eswar is an artist and storyteller. She studied at the Baroda Faculty of Fine Arts and Chitrakala Parishath, Bangalore briefly. Her art studies started much earlier though, while she was still a student at The Valley School KFI. From a fine arts education, Smruthi moved on to graphic design and photography almost immediately. But over the last few years, she has ventured back into the world of art, finding within it, an avenue to explore, address and express at a more personal level. Her journey from graphic design to art initially established the medium in which her works were created. Now, they vary from terracotta to acrylic to photography. But one of the mediums she enjoys using the most to give voice to her artistic expression even today, is digital or graphic art.

    With shows travelling to Budapest, New York, Cochin, Delhi and Mumbai, Smruthi has always enjoyed collaborating with designers, performance artists and other creative professionals. In 2014, she did a solo show in New Delhi, showcasing works from her “Sister Misfortune” series at acclaimed fashion designer Ritu Kumar’s flagship store. The hugely successful art series, for which Smruthi has been creating works for over a decade, has also been exhibited in Kochi, Bangalore, and Mumbai. Smruthi is a board member of Art in Social Structures, an international NGO run and funded by artists that believes that art is the building block of all social structures. Her photography work has been published in India and the Philippines. Her work has been collected by art patrons around the world. The artist is based in Bangalore and Delhi.

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  • ABOUT Digital Art

    Digital art is a term used to describe an artistic practice that uses digital technology either as part of the creative or the presentation process. It falls under the umbrella world of new media art. Since the 1960s, various different names have been used to describe digital art, and some of the other commonly used terms include computer art, multimedia art, and even graphic art.

    Digital artworks can be created as unique or editioned pieces. To maintain the value and exclusivity of the artwork, an artist would typically destroy the source file (of the artwork), once the number of pre-decided pieces have been sold. Digital artworks may be presented digitally, but more commonly, they are printed works of art that can be hung on a wall, much like a painting.

    Contrary to misconception, creating digital art also requires artistic skills such as sketching, drawing and colouring, as digital artists use all of these to create their artworks on the computer. While there may be some lingering debate about the pros and cons of this new age medium of creation, there is no doubt, that digital art has created a vast expansion of the creative sphere.  

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