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ART MOLTEN LAVA “I AM IN LOVE WITH FREEDOM,” SHE DECLARES. “TOTAL FREEDOM,” SHE EMPHASIZES. 22 SEP-OCT 2005 SPACES
“When I was a kid, elders would ask me whom I wanted to be when I grew older, not what I wanted to be,” recalls Ashmina Ranjit. “I used to think, ‘What a stupid question!’” Today, after achieving a certain prominence in the field of art, she is very much a force unto herself. Oh yes, no one can doubt that Ashmina is now a persona in her own right. The twin snakes running up her nose to her forehead is only a supporting physical manifestation of a decidedly individualistic personality. Naturally, as is expected of an artist of unusual calibre, she lets her non-conventional works speak for themselves- in the processrevealing much about the uniqueness of Ashmina Ranjit. Her snakes and the reason for them being where they are could be discussed ad nauseam but she, herself, attempts to simply explain them away by saying that she has always been passionately fond of the reptiles. From an outsider’s point of view, too much importance needn’t be placed on this fetish-perhaps the artist is only proclaiming her rebellious nature in an artistic way. But more important, and more interesting, would be an insight into some of Ashmina’s avant-garde works. Many still remember her ‘Hair Warp-Travel through Strand of Universe’ exhibition at NAFA Art Gallery in 2000 when, in addition to charcoal sketches of innumerable strands of hair intertwined meticulously to form crowning glories, on view was also installation art in the form of huge red braids of accouterments usually related to meticulous hair-dos in Nepal. Besides being an obvious novelty in choice of subject, the artist, as she is inclined to do, had a message to impart as well. The gist of it being simply, that woman’s hair is a powerful instrument of feminine expression besides being a liberating experience when in free flow. “I am in love with freedom,” she declares. “Total freedom,” she emphasizes. Maybe that is why she wanted to be a pilot when growing up, but soon enough recognized that art was what was she was searching Right: An eloquently descriptive early work in which the artist clearly seems to have been on the safe track. SPACES SEP-OCT 2005 23
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Page 15 and 16: MASS HOUSING Thank you for a very i
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Page 31 and 32: Text: Kathmandu Valley Preservation
Page 33 and 34: The restoration of Kal Bhairav was
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Page 51 and 52: CRAFTS DRIFTING T O W A R D S FAME
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PROFILE§ Above: Royal Palace propo
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palace and framed it with a ‘Nepa
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SPACES SEP-OCT 2005 77
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About one and a half kilometres fro
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Above: One is treated to such a sig
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- all with attached bathrooms - con
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a bypass road for Greater Kathmandu
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Kathmandu Patan Bhaktapur ZONE A: S
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Quality output calls for quality in
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ACCESS BOON FOR HOUSING COLONIES Ma
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Picture framing is an art by itself
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SURFACE PREPARATION 7. Newly plaste
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complementary of the background col
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TRANSITIONAL HICCUPS Courtesy: Dr.
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Oak Tree Celebrating The Grand open
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Spaces Vol 1 Is 6

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