Ved Nayar | Biography | Life | artworks
What ensured a sculpture its distinctive character was the ‘pedestal which earlier was often designed by the architects’. And during the 1960s when the pedestal was deliberately removed to let the sculpture step down on to the earth, it was again architecture that provided the boundary, such as ‘the room’ or ‘the courtyard’.
In installation, the surroundings are everything; for the value of objects used in the installation lies in how they interrelate, and contribute to the representation of space.
The viewer, as it were, comes to know the work subconsciously. His work is an act of inquiry.
He has raised questions about context and revealed how meaningful an element it is in art. He, however, never loses sight of the relationship between material and volume.
Ved Nayar‘s installations, such as Mankind 2192—Despair and Hope of Kalpavriksha, The Gods and Man ‘s offerings in Plastic and Immortality of the Man, the Bird, the Tree, and the Flower as Trophies, have according to him, evolved from his creative concerns.
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