A strong sense of rhythm and movement, colour and volume energise the work of Brinda Chudasama Miller. In her acrylics, form and its abstraction seem to surface, separate and merge in a continuous interplay of light and shadow. Over the years her painterly journey has taken Brinda on a quest to intimately understand and manipulate the materials and agents she works with so that their inherent strengths and vulnerabilities are successfully harnessed to reinforce her compositions. Like an alchemist driven to extract precious metals from a secret configuration of materials submitted to fire and heat, she uses a wide spectrum of mediums and techniques to conjure an elemental and organic world of texture and form that highlight her stylistic vocabulary. As a painter, Brinda revels in the sheer lila, playful delineation of the shifting perspectives of nature and environment, of capturing the tonal energy of pigment, of inventing a plethora of surface textures interwoven with multiple layers and imprints of ridged, stripped and masked areas that characterize her work.
In her present series of acrylics rendered in a vibrant high palette, luminous geometric forms are set in tangential planes that shift and slide over one another. They move against a vast ground that rests on an opaque void. Huge arcs criss-cross wide bands of colour-fields that are interfaced by triangles, squares and rectangles. They cut into one another, appearing and disappearing as multiple washes of pigment give them rhythm and momentum.





Particularly in her larger canvases, the impasto evident in her earlier work has given way to the painterly flow of pigment worked in multiple, translucent layers that permit traceries of form to emerge from within one another. Stripping, masking, smudging and dribbling pigment, Brinda uses various objects to leave a variety of markings and imprints on the tonal grounds. Working with roller, brush and knife she succeeds in merging and separating colour, volume, line and texture in interesting combinations of architectonic rhythm. The tilting planes of these colour-fields collectively build a grid that now pushes to carve out inner architectural dimensions in her compositions that achieve a greater depth and equilibrium. In some of her recent paintings this urge to explore untraversed terrain allows spaces to open quite suddenly in the hitherto opaque grounds of her acrylics to reveal glimpses of a deep pulsating void that underlies her abstract expressionist imagery. They seem to indicate the artist's growing need to move beyond known perspectives and provide a slender link to the light within, which has a taut, composite quality and holds the promise of a need to search for reimaging perspectives of uncharted landscapes.

Rich earth tones touched by an inner luminosity dominate Brinda's larger canvases. They are awash with a subtle vibrancy and are set against jewel toned greens, indigoes, turquoise and purples that are often surrounded by swathes of inky blacks, murky greens and smouldering deep blues. In her smaller and medium works these tonal qualities provide an element of surprise as vibrant colours project abstract, stylized forms, which emerge from underlayers of structured geometric grids providing an organic counterfoil to their orderliness. In some of the paintings strips of canvas have literally been woven into rectangular grounds held in wide cut, stylized wood-frames that provide a sculptural grid for extending the compositional space. Brinda invests these works with a delightful spontaneity playing with colour and form with skill and finesse. In these smaller works there is a full flow of experimentation. Impasto is created with unlikely materials like residual acrylic, glass, mirrors, small found materials and fabric imprints which are manipulated into quirky effects. They geometry of sweeping, deep set planes creates the harmony against which nascent form actively reinvents itself spilling onto the painted frames in a flourish of movement.


This organic feel for texture, material and conceptualizing new ways of expressing form and abstraction come from the sense of adventure and creative freedom that Brinda found during her period of study at the Parsons School of Design in New York. This radical change of the physical, socio-cultural and creative environment stimulated her to move in different directions experimenting inventively in her work. At the Parson School all ideas were given a free-ranging space to grow, to establish a new dimension of expression. Besides, the artist's study of textile design at the Sir J. J. School of Art, Mumbai, laid the foundation for her understanding of texture and weave, the warp and woof of the creative loom.



She has used this organic and elemental understanding of texture and layering to strongly enter her creative expression as a painter. Her earlier work is full of an innovative energy, where the vibrant use of texture and impasto were dominant. This impetuousness has now been quietened and absorbed into a mature, flowing harmony. Brinda lets the rich flow of flavours of emotive rasa stream through her work. A deeper painterly lila, play, of stylistic energy now empowers her creativity.

In Brinda's acrylics, shafts of light stream in against a counterpoint of brooding dark grounds. Luminous geometric grids of shifting structural quotients resonate a language of architectural music. Colour and line sweep the works in lyrical swaths of rhythm. Multiple dimensions move in layered consonance drawing the eye inwards. Brinda Chudasama Miller's present series strongly builds the organic and elemental threshold from which she will continue to explore unknown terrain with a deeper sense of creative and aesthetic freedom.

- Sumitra Kumar Srinivasan