The hallowed halls of the Royal Academy of Arts have been transformed into a vibrant jungle of organic forms and textile wonders, hosting the most comprehensive UK exhibition yet of Indian artist Mrinalini Mukherjee's extraordinary work.
A Radical Reinvention of Craft
Mukherjee, who passed away in 2015, emerges as a revolutionary figure who single-handedly elevated textile art from craft to high sculpture. Her monumental hemp creations, some towering over three metres tall, challenge every preconception about fibre's artistic potential.
The exhibition reveals how Mukherjee developed her unique knotting technique, working directly with her materials without preliminary sketches. This intuitive process resulted in astonishing sculptures that blur boundaries between human, plant, and deity forms.
From Ancient Techniques to Contemporary Masterpieces
While deeply rooted in Indian craft traditions, Mukherjee's work transcends cultural categorisation. The exhibition thoughtfully charts her artistic evolution:
- Early hemp works that established her signature style
- Ceramic bronzes marking her surprising medium shift
- Later works exploring new materials and scales
"What makes this exhibition particularly compelling is its timing," notes the curation, highlighting how contemporary artists are finally catching up with Mukherjee's visionary approach to materiality.
A Long-Overdue Recognition
Despite her significance in Indian art circles, Mukherjee remained relatively unknown internationally during her lifetime. This exhibition positions her as a crucial figure in global art history, whose innovative approach to sculpture predates and influences current material-focused art trends.
The display showcases how her sensual, tactile creations command space with a powerful presence that feels both ancient and utterly contemporary. The works seem to breathe and grow within the RA's galleries, creating an immersive experience that transports visitors to Mukherjee's unique artistic universe.
This landmark exhibition not only celebrates an artistic genius but also prompts a necessary re-evaluation of art history's hierarchies, proving that true innovation often emerges from the margins.
