Visit the Studio with Shreya Mehta

With color leaking into color, vibrant unforgettable flecks of gold leaf, and rich indigo dye, painter Shreya Mehta strives to tackle the ever-present topic of cultural identity through her work. In layers of pigment, Mehta’s pieces each unfold into a story of international roots and infused identity. Let’s take a look into Shreya’s process and her studio together!

What is your artwork about? What does it speak to?

My artwork is about identity –– Cultural identity, gender identity, spiritual identity and all that lies between. Although all very different in their processes, each identity discussion is explored using various layering techniques. Some utilize abstract layered color pigments and gold leaf as symbolic explorations of philosophical and spiritual theories while others utilize a more direct use of layering identifiable figurative images. Below are some specific examples of how these varying layering techniques are used to explore and discuss identity.

Cultural Identity is a subject matter I explored in my Identity Series. The series was a way for me to visually explore and discover this notion of “Infused Identity”. Born in Mumbai, I was then swiftly moved to Belgium where I grew up and have lived most of my adult life within the US –– my unique external and internal identity can often be difficult to reconcile in any simplified manner. Which of those limiting boxes do I check on the census? No single identity can sum up everything about me –– we as humans are more complex than that. So it is within this series that I explore my deeply complex and beautiful cultural heritage by creating repeated layers of the word, "identity" in my 3 native languages –– in English (Identity), Dutch (Identiteit), and Gujarati (ઓળખ). There is an abstracted visual effect of stitched embroidery, as if the words are stitched together into the paper itself.

Gender identity, what it means to be a woman, is something I explore in my Spirit of Shakti Series. Raised in a conservative Indian household, my female relatives in India cover their faces with a veil. Although I do not wear a veil, growing up around this cultural reality has led me to think about the more symbolic ways we as women may be shrouded, or covered, within all our varying cultures. Even more so, I am interested in discussing who we are as individuals behind those symbolic veils –– what is our identity? I explore these concepts by methods of layering drawn and painted images of women with images of goddesses and symbols. The women I draw are the ‘every woman’. Every woman is a goddess. She is the fervent autonomous goddess who knows how to stand for herself. Through the archetypes of goddesses I can explore the questions of who we are and what a woman stands for.

For me, Spiritual Identity starts with the question, "Who am I?". This is a constant quest to the journey of consciousness. I explore this exact concept, this exact question within my Karma Series. Similarly to my Identity Series, I do this through a layering process, but by utilizing various materials. Each layer is symbolic to the spiritual process, starting with pure gold leaf which is adhered with plant based adhesive. The last layers are embroidered cotton threads that signify connection and protection. These layered pigment works are exploring the Jain philosophy of soul and karma –– an ancient Indian religion, teaching a path to spiritual purity and enlightenment through disciplined nonviolence to all living creatures. I use my creation process as a method of exploring these philosophies for myself –– I need to ”see” an abstract theory to believe it. These Karma pieces are, for me, a manifestation of this abstract philosophical thinking.

Due to this parsed exploration of identity within my various series of works, I find that my art speaks to scientists, free thinkers, artists and those connected with their inner-spirit alike. Growing up I wanted to be a doctor; my major was biology and chemistry. However, the more I explored art, the more I found that science and art have a lot in common; science and art naturally overlap. Both are a means of investigation. Both involve ideas, theories, and hypotheses that are tested in processes where the mind and hand come together.

What materials do you use? And why?

After learning about the animal cruelty that goes into paints, brushes, and really most traditional art materials, I threw my old supplies away and started on a new journey of ‘Vegan Art’. This has been a guiding force within my practice ever since.

I use vegan, raw materials. First, I prime my canvas with vegan gesso which means the gesso is made of Methyl Cellulose. This is a polymer derived from plant fibers and is a vegan alternative to the animal glues of traditional primers such as gesso and rabbit skin glue. It is also naturally archival which is a great bonus! I then create my own pigments, turning these pigments into paints by using natural binders such as gum arabic powder rather than the synthetic binders found in other materials.

But beyond physical materials, I am also incorporating my body, spirit, and mind into my work. We live in a sea of vibrating energy – our bodies, our human material and the products we create. I want to use the purest of raw materials to translate these pure vibrations.

Where do you get your inspiration? How does meditation play a role in your creative process?

I get a lot of my inspiration from meditation, which is something I do every day. I practice silent fasting on a regular basis (once a month) and I also commit to an 8 to 9 day silent retreat every year. During those days, I do not speak –– no body language, no electronic communication, no human interaction of any sort. During these silent social fasts, I am within –– completely internalized. All I do is create art, meditate, and write. This emptying of my mind is a necessary detox and a fount of creative thinking and creation.

This internalization, this journey within myself, is an endless source of creative inspiration for me. As a mother and wife and daughter all in one, I find this concentration on myself –– this meditative exploration of who I am beyond an attachment to others –– to be a creative, regularly tapped resource. This is then expressed within my paintings by way of solace.

What is your typical routine when you get to the studio? Walk us through a typical studio day.

My typical routine starts with waking up at 5am. I begin with outdoor meditation and morning sun yoga. This is usually an ‘OM’ meditation where I fixate on a mantra and repeat it like a chant.

During the summer months I remain outside and create in my backyard, among nature. In the winter months, I work indoors within a room of my house that I’ve designated as my studio.

The morning is my solace. I typically spend all morning creating. Around mid-day I will take a break and that's when I rest/read a book or connect with friends. My evenings are dedicated to my family.

Fun fact! I set 48 minute timers through the day to take mini-breaks using a sand timer that was once my Grandmother’s. According to the Indian Vedic System, our day is split into 48 minute “muhurat” time slots and each period correlates with the vibrations and energies of earth’s daily changes. I find this muhurat pattern to correlate well with my pattern of creation.

Do you work at a particular size or scale? Why?

I always make sketches at 8”x11” –– there is something about the A4 scale that I feel comfortable with. I then translate those sketches into larger works.

Currently I am exploring large scale paintings –– 6ft or larger. I am interested in having a conversation in direct relation with the scale of the human body. I am attempting to convey that art is something larger than just one individual.

What are you currently working on? Share with us what is exciting to you about this most recent work.

I am currently interested in exploring the use of pure, raw pigment color as a means of discussing abstract spiritual and philosophical theories such as Karma. I incorporate layers of pigment and 22K gold leaf and thread as a method for symbolic explorations of these abstract theories. Color can be extremely symbolic, so each color I chose has a direct spiritual and cultural association. I use gold leaf as a representation of the human soul or Atman. Delicately and methodically I build up layers of pigment and gold leaf on canvas.

In a recent painting from this new series, I use Vermillion (sindoor) pigment as a means of showcasing the “Maya” illusion and biases that we place in our lives. This red color is typically ascribed to the root chakra which is understood as the foundation for the self and is traditionally applied on the third eye as a connection to our higher knowledge. These associated meanings are all incorporated into my paintings through the strategic use of the sindoor pigment. These layers of Maya (sindoor pigment) shroud the Atman, the soul (22K gold leaf).

I am excited to embark on this creative Sadhana or spiritual journey in this current series.

Which artists most inspire you and your work?

Growing up in Belgium, Yves Klein and his use of blue pigments made me beam with excitement. The visual effect of using the pure pigments as a way of punctuating his ideas was trailblazing.

With my Indian heritage, the artist Bharati Kher and her use of Bindhis (the circular stickers that we place on our third eye) has masterfully used Indian mythology and traditional Indian materials as a means for discussing contemporary cultural conversations.

Living here in New York, my absolute favorite artist is Mark Rothko. His exploration in the field of color theory, the presumed simplicity of it, is what I strive for in my own work.

Please share with us your most recent residency experience.

I just completed an art residency at Evari Studio in Westchester, NY where I collaborated with the award winning Kathak (Indian form) dancer, Barkha Patel. During this week-long residency, Patel and I worked together to explore the concept of ‘Art as Meditation’. She would choreograph dances while I would create quick paintings in direct response to her movements. Here is a glimpse of our collaboration.

We hope you’ve enjoyed this special peek into Shreya's creative environment! Even in a virtual age, we encourage all budding collectors to take the time to connect with the artists you love directly.

We want to remind you of our awesome artist messaging feature directly on the Art in Res site––reach out now and foster that creative energy! Have more questions for Shreya on her art and practice? Follow up with her directly via our messenger. We know she’ll be thrilled to answer any questions you might have. Ask about a specific painting or about her specific process in general––either approach works!