“Emblems of Transformation” at Blain|Southern in London is an exhibition of new watercolors by Italian artist Francesco Clemente that draw inspiration from what the gallery describes as “the contemplative traditions and urban visual culture of India.”Comprising 108 delicately and intimately scaled works on paper, the exhibition continues the artist’s long-standing relationship with the watercolor medium and also with India where the artist first visited in 1973 and where he has lived and worked at different phases of his life.The 108 paintings reference the number of beads in the japa mala, commonly used by Hindus and Buddhists during prayer. “Like the beads of the mala the paintings are linked and flow seamlessly from one to the next,” the gallery states.In her essay in the exhibition catalogue, Kiran Desai says: “There are 108 beads in the japa mala Hindus and Buddhists use to meditate. This is a meditative series, and it powerfully conjures India, where at one time, artists were often pilgrims, even secular-minded ones…”Continuing his long-history of working with Indian craftspeople, Clemente has incorporated miniature elements into the paintings that were chosen by the artist and executed by a family of Indian miniaturist painters from a workshop in Rajasthan.To find out more about the exhibition, BLOUIN ARTINFO got in touch with the artist and asked him a few questions.Your exhibition at Blain|Southern is titled “Emblems of Transformation.” Could you explain the title of the exhibition and what it reveals about the works?According to the dictionary Emblems are, among other things, visual reminders. A lack of transformation is equivalent to stagnation. Maybe the title of the show is an invitation to change.I understand the number of works in the exhibition (108) is significant. Could you explain what the 108 references and why you chose to incorporate this reference into the exhibition?In the Hindu and Buddhist tradition there are 108 beads to the mala, the rosary. The number suggests that the watercolors can be viewed as a form of prayer, without a deity.“Emblems of Transformation” continues your long-standing relationship with the medium of watercolor. What motivated you to begin working with watercolor and what is it about the medium that continues to excite and inspire you?The medium of watercolor enables spontaneity as the flow between surrender and control.The exhibition also continues your long-standing relationship with India and its craftspeople. What is it about India that interests you so much and has had such a profound influence on your practice?India is contradictory: chaotic, inclusive, syncretic, exaggerated. I accept India as is.You worked with a family of Indian miniaturist painters from a workshop from Rajasthan who executed miniature elements in the paintings. What does the addition of these elements add to the works and the way people will experience them?To tell a story always helps to enter a work. Ultimately the viewer has to confront the image, without crutches.How would you describe your aims and objectives as an artist in the context of this new body of work? I have the same aims as a flower.
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