Praneet Soi
Landscape(s), 2025
Handmade papier-mache tiles, acrylic paint and UV matt varnish
30 x 50 in
76.2 x 127 cm
76.2 x 127 cm
Copyright The Artist
This is an ongoing series which underscores Soi’s understanding of a landscape as a construction of multiple viewpoints. The peacock detail on the left is taken from a detail of...
This is an ongoing series which underscores Soi’s understanding of a landscape as a construction of multiple viewpoints.
The peacock detail on the left is taken from a detail of a Jataka relief on the Bharhut Stupa, now in the Indian Museum in Kolkata. Kashmir became an important centre of Buddhism during the rule of Ashoka (304–232 BCE). The fourth Buddhist Council was held there in 72 AD under the patronage of Kushan king Kanishka. However, its traces have since disappeared from the region..
The bark of a tree, painted within the composite geometric form, is located in the Oosterpark in Amsterdam, where Soi lives and works. The large floating disc filled in with decorative motifs by craftsmen functions as an avian shape, stitching these seemingly disparate landscapes together. These shapes are gleaned from the traditional Khatambandhi patterned ceilings ubiquitous in Kashmiri architecture.
The understanding of landscapes as grounds, or soils, which provide nutrition to Soi’s understanding of art, and life, is gleaned through conversations with the Palestinian educationist Munir Fasheh.
The peacock detail on the left is taken from a detail of a Jataka relief on the Bharhut Stupa, now in the Indian Museum in Kolkata. Kashmir became an important centre of Buddhism during the rule of Ashoka (304–232 BCE). The fourth Buddhist Council was held there in 72 AD under the patronage of Kushan king Kanishka. However, its traces have since disappeared from the region..
The bark of a tree, painted within the composite geometric form, is located in the Oosterpark in Amsterdam, where Soi lives and works. The large floating disc filled in with decorative motifs by craftsmen functions as an avian shape, stitching these seemingly disparate landscapes together. These shapes are gleaned from the traditional Khatambandhi patterned ceilings ubiquitous in Kashmiri architecture.
The understanding of landscapes as grounds, or soils, which provide nutrition to Soi’s understanding of art, and life, is gleaned through conversations with the Palestinian educationist Munir Fasheh.