Anaida chooses ink to mirror the simplicity of an uncluttered realisation
It was nonetheless Anaida’s musical talent that brought her commercial recognition and success: by fifteen she signed with a professional music label BMG International, shot one of India’s first Indipop videos, and released India’s first ever single. Over the next decade, Anaida became India’s most readily identifiable pop diva, touring the length and breadth of the country and taking her music to its borders, and beyond.
Nonetheless, her commitment to art remained, albeit unspoken. By 16, she was using Oil and water colours, and her themes remained nature-scapes, feline forms, birds and a fascination with the distortion inherent to dew drops. Anaida also experimented with poetry and calligraphy, and these influences manifest themselves in her pieces today, paying homage to Omar Khayam, Rumi and Sufism.
Interestingly, the artist’s versatility is evident not only in her cross-platform expression but also her use of multiple media within each discipline. Anaida uses watercolours, oils and ink, chalk and coal, leather, sculpture, stained glass and even Persian miniatures as means of expression, which, from still-life to portraits, from carving to abstracts, are as varied as the media she selects.
Anaida’s recent foray into inks signals holistic spiritualism, where oneness clarifies. The artist chooses ink to mirror the simplicity of an uncluttered realisation, where the sum of parts seems sometimes greater than the whole, serving as a self-referential analogy: that spiritualism is beyond the readily obvious, and exists only in anamorphosis.