I am a multidisciplinary artist from Bangalore, studied in MS University. Currently practicing in Bangalore, Karnaraka. My work has developed in number of ways over the years yet from the very beginning of my art practice, I have workded in Painting, Printmaking, Installation, Video Art and Live/ Performance art. My intention is to blend these mediums into an interdisciplinary language.

Monday, September 26, 2022

Incubating light- Encountering Catharsis

Performance for Festival Perform

On 19th August 2022, the festival opened with my performance- The performance was to evoke

positive and light energy and welcome the light energies. The performance started with a small

prayer The performance was one-to-one interaction with the audience and it was a ritual to cleanse

them from negative energy with milk, rose essence and rose flower. It was an action that reflected

care and compassion and also service. This ritual is also slowly indulging in a ritual act of caring.

Compassion, respect and evoke positive energies. It reorientation the energies for the creative act.

This was a durational performance and around 40 audiences interacted with one-to-one interaction

where I cleaned their right hand /palm ritual with rose essential and milk and very gently cleaned it

and asked people to make form/ drawing with Rice. After they completed the drawing I applied rose

essence perfume to their hand and welcomed them to the festival this was the first part of the


The second part of the Ritual was moving from one point to another point with guided light. The round form of dried installation is specially created from plants that reflect the earth's presence, resonating with the cosmos in the universe above. The idea was to guide this audience in dark to the inner light (inner consciousness) not with external means but gradually and constantly looking within. I used a small pipe sound that represented my presence I worked as a facilitator and a guide to the audience to sound and light take a journey to inner consciousness. This result and impact of performance would depend purely on audience involvement. This performance was a process of transforming experience with sound and light slowly bringing the audience to the universe and cosmos. I am also eternal light and light of silence.

The performance act was subtle action and moment all through the performance from the beginning
till the end finally ending up looking at the sky, stars, and universe with a moment of complete silence.

In more largely context it evoked light energies and goddess Aditi (Swethambari -Goddess with

white light), the icon of godly imagery is just a symbolic representation and it has nothing to do with

religion. The personification of a goddess in everyone, the transformation through the ritual process

of the dried flower is also represented in the life cycle of life –death – re-emerge in form of energies.

Eventually, the living bodies I feel turn into light and these light energies reflect in our universe in

form of stars we all are light with different forms and through my ritualistic performance process, I

facilitate one to see this through my rituals. It solely depends on audience involvement and how

much the audience is involved in this transformational process some might not respond some might

resonate but not go deep some engage in this process and have a transformational experience. 

My performance is about how we gradually become part of nature and become nature itself. For me, it

was a transformational experience and I hope my audience too had this transformational experience

through interaction in time and space with an element of sound, touch, scent, and see.

Dimple B shah 19th August 2022 Nordaris Lesppare Medoc France

Incubating light- Encountering Catharsis

19 August 2022

Festival perform

Tuesday, June 28, 2022

Resilience: how this exhibition featuring 55 artists inspires, transforms, and heals


By Madanmohan Rao

June 24, 2022

, Updated on:Jun 24, 2022, 3:57 PM GMT+5:30

Karnataka Chitakala Parishath recently host the exhibition Resilience, featuring the works of over 55 artists of Karnataka. See our coverage of the earlier exhibitions: Chitra Santhe, Moghi’s Tales, Team Yuva Collective, Aadipaaya, and Print India Biennale.

The exhibition was curated by Krishna Setty CS, former Chairman of Lalit Kala Akademi. “For the past two years, the pandemic adversely affected artists. But the artist community has shown resilience, and audiences are showing their support by attending exhibitions,” Krishna explains, in a chat with YourStory.

He is pleased with the feedback that the exhibition received. Some of the artworks were priced from Rs 15,000 to Rs 60 lakh.

“Art has a prominent role in society. It combines expression, exploration, and duty to society,” explains Dimple Shah, a Bengaluru-based multidisciplinary artist who has been practicing art for the last 22 years.

She has participated in a number of biennale exhibitions and won awards such as the International Commonwealth Arts and Craft Award. She has worked at art residencies in the UK, India, and Nigeria.

Dimple studied at MS University, Baroda. Her art practice spans painting, printmaking, installation, and performance art.

“The meaning and crucial function of art in contemporary times are to bring forth socio-political and psychological aspects of society,” she adds. Other themes are ecological, humanitarian, and socio-cultural concerns.

For the Resilience exhibition, she showcased her work titled A Song for the Future. “The image is a metaphor for today's situation, where one sees the dark future but still celebrates the moment,” Dimple says.

“It is a surrealistic approach of one traveling in a picturesque set-up of a garden with lush green trees. There is a young child carrying a bird on the head, with a mask connected to an inbuilt small echo system to survive,” she describes

“It is the usual tendency of humans to try to find happiness in any adverse situation. In the process, we forgot to correct our mistakes and habituate to any given living conditions. The painting criticizes this attitude and aspect of society,” she adds.

The transforming experience of art helps attain catharsis and heal both artist and community. “Success for an artist comes from the
exploration of the true path, reaching people, and transforming their lives,” Dimple signs off.

Tuesday, June 21, 2022

Jennie Klien on Dimple B Shah

Rites of Passage

During the seventies, feminist artists turned to performance art in order to make ritualistic pieces that invoked a non-patriarchal religious spirituality. At the time, invoking a mother goddess to counteract 50,000 years of patriarchal rule seemed like a radical act. Just ten years later, invoking the mother goddess and using ritual was no longer viewed as being so radical. In fact, western feminist scholars and critics, many of whom were being appointed to positions within the academy, were somewhat embarrassed by cultural feminist art, which they saw as essentially flipping the patriarchal binary hierarchy of male/culture/language vs. women/nature/the body without questioning what it meant to embrace that binary, and why it was embraced in the first place. What had previously been radical was seen as hopelessly naive, simplistic, and guilty of cultural appropriation. Thus the critic Craig Owens, in his much cited two part article “The Discourse of Others,” published in The Anti-Aesthetic (edited by Hal Foster) in 1983, did not mention any artists who were working with images of the goddess, even though artist such as Marybeth Edelson and Betsy Damon were working in New York City, where Owens was based.

The western suspicion of feminist spirituality was not a global phenomenon. Significantly, feminist performance artists who were not educated or enculturated in the global north continued to make work informed by ritual and cultural tradition. Contemporary artists as diverse as Alejandra Herrera de Silva, Graciela Ovejero Postigo, Amanda Heng, AOR NOpowan, Monali Meher, Chinasa Vivian Ezugha, and Dimple B Shah have used ritual and spirituality in their work, with powerful results. Shah’s performances reference the everyday rituals that are all around her in Bangalore, India, without specifically engaging with one religion. In her own work, deliberate ritualistic actions are performed against a colorful and music-filled background. Shah’s work, as seen in her recent performance for Flow, harnesses the ancient idea of the feminine in order to speak to the importance of women’s rights today.

The description for this workshop promised the following to the participants:

This workshop will guide us in a process of reconnection to connect us to a deeper consciousness. I will draw on various techniques and methods that will help us to join random points of connection. These processes are developed from research on into performative rituals from my culture. I have been incorporating these elements and, it has helped me seek my answers. It is the process one can follow to start with, to form their style and language. These processes are a foundation for future understanding of self with Nature and our surroundings. This workshop seeks to be a journey to activate inner consciousness aligning to the macrocosmic and microcosmic world.

In addition to this, participants who had signed up received the following list prior to the first day:

Materials required –
Big Bowl, Water, Soil/ Earth
Steel container Oil olive, salt, Match box, Tissue wipes /or small cloth towel Flowers available in your area colours of you choices 3 Variety
Making of Sweet -Almond, milk, honey, Rice, soil/earth,

Scented Candle/ or plain – small one or
Incense sticks flower essence,
Cardamom 5 or 7 numbers
Clove 10 number
Cinnamon- two stick

These materials, which can be seen in Shah’s performances (http://dimplebshah.blogspot.com/) and in many of the Buddhist, Hindu, and Jain religious ceremonies that surrounded Shah as she grew up, constituted the rituals that the participants would reference. However, this workshop was not about appropriating Indian spirituality and meditational techniques on the way to becoming physically fit, which is the case with most yoga practices in the west. Rather, it was about providing participants with a toolbox that they could use in order to make their own rituals without appropriating so-called exotic or foreign cultures. Shah was careful to distinguish between ritualistic worship of deities that are specific to Indian religions and ritualistic actions that are specific to the person who is embodying those actions. She asked the participants to do the same.

The workshop took place over two Thursdays and two Fridays, separated by a week. On the first day, the participants introduced themselves and Shah gave a presentation that included documentation of everyday rituals in Indian culture along with a discussion of several performances that she had done. The session ended with the participants plunging their hands into bowls of water, and then pushing their feet into a containers of soil or dirt. Participants were encouraged to combine the soil and water to make a Goddess shape.

On Day 2, the participants were tasked with two things. First, to try and count grains of rice up to 500. The action was surprisingly soothing, and took a long time. 500 grains of rice can fit easily on a small plate, and yet no one finished counting in less than 15 minutes. The second action was to take the goddess figure that had been made the day prior and decorate her with flowers that were either found or purchased. The flower arrangements that were reminiscent of modernist abstract art, artfully arranged and bordering on the abstract. Each participant gave a different narrative for why the flowers were chosen; several combined their flowers with the rice.

Day 3, required some improvisation as an email that was supposed to go out to the participants did not reach them. Shah had planned to lead the group in making an offering of rice, enhanced with cardamom, cinnamon, and cloves and sweetened with sugar and milk, for the earth goddess figure from the previous week. Upon realizing that the participants were not prepared, Shah pivoted and led an exploration of the Chakras, or 7 energy centers along the spine. Shah took her time explaining the mudras/hand gestures, location/meaning, and chants of the Chakras. The workshop concluded with a demonstration for how to make the sweet offering to the goddess, which the participants did on their own following the conclusion of the workshop.

Day 4 was devoted to rituals performed by the participants. But first, an unexpected challenge had to be overcome: a power outage on Shah’s end, which knocked everyone out of the zoom meeting. Fortunately one of the participants was able to create an alternate zoom meeting that allowed the workshop to continue. The final meeting gave space to the ritualistic and spiritual performances devised by the workshop participants. One participant performed a dancing ritual in their living space that referenced their childhood in Mexico. A second participant, based in Ireland, went outside and took off her clothing before brushing her long hair. A third, who was not able to be present, did a performance around the similarity between food made for offerings in Honduras and Bangalore. I did a ritual with a goddess that I had made with an aloe plant, which I swathed in cloth, decorated with flowers, and offered a portion of the treat I had made just that morning. My goddess was tongue-in-cheek, but also serious. The ritual was local–the day prior I had walked around my Ohio neighborhood to collect wildflowers to include on the altar.

In spite of power outages, internet issues, and time differences, the workshop was a sensory experience that pushed the participants outside of their comfort zones.

Dimple Shah@Art TV

Dimple Shah is a brilliant Performance artist, Painter, Print-maker, Photographer, and Theatrist. She has vast body of work, thought process, and skills to present a great set of multi-disciplinary art. Let's listen to her views and observations. Please like, comment, share, and subscribe to this channel. Please find the link below to click and view our channel.

Saturday, December 25, 2021

Performances Rendering ‘Collective Existence’

by Alka Chadha Harpalani

The three art performances of Inder Salim, Dimple B. Shah, and Mukesh K. Zile Singh at the recently concluded Jaipur Art Summit enacted to propel greater awareness and concern for environmental degradation also mirrors the individual visions of each artist. The performances were curated by Dimple B. Shah for the Summit, which was held in association with the Vrindavan Research Institute, Braj Sanskriti Sanskaran: Yug yugeen Shri Krishna – Vyapti aur sandharbh from 7 to 11 December 2021 in Vrindavan, Uttar Pradesh. The event included many activities like painting workshops, musical performances, folk dance, book releases, saanjhi kala, and so on.

Each of the simple, yet profound acts imbued with deep meanings are a quintessence of performance art. Unplanned and random materials, selectively picked from their personal box of experiences and observations, while personifying the artist’s intention, have aided the expressions. The acts reveal the ugly truth of deforestation with towering concrete buildings, climate change, pollution hazards and above all the insensitivity of people towards ecological concerns. The acts speak eloquently when one gets involved in the visual dialogue.

Engulfed in a black robe, Inder Salim explores the play of the subconscious mind through his performance Between Doors and Pores. The act includes interaction with the audience – a question-answer session on art and philosophy. Sitting and intermingling with the audience becomes a part of the performance itself. He describes his concept with reference to The Art of Dreaming by Carlos Casteneda:

“The Art of Dreaming describes the steps needed to master the control and consciousness of dreams. The Toltecs of Don Juan Matus' lineage believed that there are seven barriers to awareness, which they termed `The Seven Gates of Dreaming' or obstacles to awareness. In The Art of Dreaming Castaneda describes extensively how a state called ‘Total Awareness’ can be achieved by means of dreaming by overcoming these obstacles. Four of the ‘Gates’ are discussed in The Art of Dreaming. What follows is not so much a technique in achieving lucidity, but rather the practical application of lucid dreaming. By acting in a certain way while dreaming, one can cause psychosomatic changes in one's being, including an alternate way of dying. What follows is a point-form summary of the philosophy surrounding Toltec dreaming as a way of ‘sorcery that is a return to Paradise’."

Dimple B. Shah’s performance, From Existentialism to Extinction – Air, Water, Land and Living Being embraces numerous layers in her act. While performing the rituals we see her with an empty lotus pond loaded with clay compost, shielded with grill and haunting polyphonic mourning sounds, and clutching a monkey sculpture. Progressively coming out and entering the second cage with rabbits; standing silently, constructing a connection with plants and animals; she then lets rabbits quietly play on her robe. All this is followed by the artist sitting on the mound of dried leaves spread over the ground. It gives goose bumps to the viewers, as they and the students sprinkle mehandi over her, symbolically signifying natural healing therapy using the organic material.

The above two photos are courtesy of the artist Dimple B. Shah and the photographer Umashankar Purohit

“The land of Temple and land of Holy Basil Vrindhavan is the ancient Sanskrit name of the city, Vṛndāvana, which comes from its groves of vṛndā (Holy basil) and vana (a grove or forest) is also not far from clutches of Environmental crises and destruction of old trees affecting living animals and birds like peacock, birds and lot of animals like monkeys. Modern development and illegal construction of human settlements and occupation of the land has led to the disappearance of the Yamuna belt and several historical sites. The unauthorized construction of buildings and covering of river beds and expansion of human settlements have drastically affected the ecosystem of this small place and life. Both the city's environment and cultural heritage are severely affected by environmental pollution. We are still to come out of the pandemic and comprehend and deal with the crises. Water, air and land are all getting polluted. A recent picture of the Yamuna River contaminated with froth and foam went viral. This keeps repeating every year when the factories surrounding the Yamuna belt dispose of untreated contaminated chemical water to the river. Unless there is strict action taken by the government to regulate the disposing of chemicals into the river, or any other river in the country, this will keep repeating. The air quality is deteriorating in every city to the extent that it has become poisonous to breathe in and is detrimentally impacting the living conditions of all living beings. As an artist, we respond to the call of nature during this critical period through our work. Artists engage with and subtly respond to the community and space through narratives and metaphoric or poetic actions,” says Dimple.

Mukesh K. Zile Singh’s performance titled Roots, Trees, and Human is a thoughtful, psychological insight into the environmental issues, veiled in simplification, with the use of intriguing props that charge up the space. He is seen with his face concealed with silver foil and a tape, gripping a burnt log and dragging it across the ground, then losing his grip to cause the log to drop at a point, and then yet carrying on with the considerable effort. Restless drawings of the circles with coal, leaving a black mark on the track, the lingering reverberating sounds of deep breaths and panting due to choking – they all point to the close connection between humans and nature. Through his act he highlights the disconnection between the two, and human apathy to the bitter consequences of deforestation because of the use of products that are not eco-friendly, thus creating a horrifying world for themselves to live in.

“It is no wonder that trees have captured the human imagination since the beginning of time. Their strength, deeply rooted in the Earth, is an inspiration. Their trunk and branches are a wonder of nature because they stand sturdy and impenetrable most of the time, yet they can flex and sway with the wind when needed. Since the beginning of time, humans have had a sense that trees are sentient beings just like us, that they can feel pain that they bleed when they are hurt. We can feel a tree’s vibrational energy when placing our hand upon its bark. With their deep roots, trees carry significant energy from the ground. We naturally feel peace and serenity when walking in the shade of trees. Trees are considered sacred in many cultures and trees are worshiped universally by ancient peoples in every corner of the globe. As an artist, our role is to document and critically look at the socio-cultural consequences of environmental changes and find different ways to communicate this to the audience,” says Mukesh describing his act

The three performances echo the artists’ responses and contemplation to happenings all around and their helplessness towards the environmental changes taking place. Their distinctive acts are dialogues involving the audience and bridge the gap between the artist and the viewer – they may be separate actualities but yet appear amalgamated. There is directness and simplicity in expression and the spatial thoughtfulness, openness and the visual spells they cast can be readily identified with and understood, thus creating a bond between the performer and the audience. Taken together they force the onlookers to delve deep into each performance and urges us towards a collective existence.

(All images are courtesy of the respective artists unless mentioned otherwise)

Dr Alka Chadha Harpalani is an artist, researcher, writer, poet, and has worked as a professor. She is involved in an e-learning project by MHRD (Ministry of Human Resource and Development) at Dayalbagh University, Agra. Editor of the journal Artistic Narration (Anu Books) for over 10 years and recipient of many prestigious awards and honours, she has held and participated in many all India and international exhibitions, and published research papers and articles in renowned art journals, newspapers and magazines.

Saturday, December 18, 2021

The Salon Launches a Q&I Between Dimple B Shah and Nicolás

Image: Courtesy of Dimple B Shah
Excerpt from Q&I below /
To read the full piece go to: https://www.interiorbeautysalon.com/dimple-b-shah

Nicolás: I am extremely interested in the concept of The Mother. I have worked with my mother on several occasions. In 2007, she sent me off to Germany where I invited the Holy Infant of Prague to take over me for several days and, so I renounced my personality for that time. My mother made the vestment of the Holy Infant. Linda Mary Montano also worked with her mother way back, and I see that you work with your mother as well. Any insights?
Dimple B Shah: I am very close to my mother. My relationship has deepened as I am living with her for the past 12 years due to her illness. The emotional bond has become even stronger. I share my thoughts with her, my creative ideas, and my emotional traumas. My mother has also evolved from a homemaker, to slowly become an artist. For the past five years or more, she has started to draw and paint and I encouraged her to do so to divert her from negative thinking and, since then she has shown tremendous interest and now is slowly becoming an artist. I have shared my first thought and idea of performances with her for the last two years. Mother has collaborated with me in my performances. The bond between mother and daughter is strong, unconditional and, the backbone of our strength. Words are not enough to explain our relationship.


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