107. ASHUTOSH MITTAL: A SPACE BETWEEN DISTANCE AND DEVOTION.
PREVIEW: M-A (A SPACE BETWEEN) ISSUE 4 RELEASED MAY 2025.
Ashutosh Mittal, ‘A Brief Conversation’ (section) 0.05 Micron pen on paper, 2022-2023. Started in Khurja, completed in London. M-A (A SPACE BETWEEN) issue 4, still life image: Harry Nathan.
‘Historically, India has undergone enormous changes as a result of invaders and colonisers who attempted everything to destabilise our country’s foundation, but we managed to maintain our ideals resolutely. And craft, weaving, and architecture are some of the best instances of how our ancestors managed to preserve this knowledge, which today’s generation enjoys without even realising and appreciating. And I believe it’s my duty to honour this knowledge.’ A.M.
The first work I remember seeing by you was a surprise, it still surprises me when I think about it - you said you had been working on a large drawing and you unrolled a huge scroll of paper which was near completely covered in thousands and thousands of tiny lines, I could not believe this. Please, can you introduce this work?
This is the second frame from my continuing project, Sounds of Brij. My work is an expression of time and energy, rooted in ancient Indian sites and their surroundings. Brij is a region in India that is historically, religiously, and spiritually significant. I’ve been drawn to this region since childhood as it offers a glimpse of old India’s beauty. Despite the fact that the space was destroyed by invaders, this work follows the spirit of these spaces by mapping architecture, rituals, sounds, people, and everything concrete and intangible that one might perceive being in that space.
Ashutosh Mittal, ‘A Brief Conversation’ (section) 0.05 Micron pen on paper, 2022-2023. Started in Khurja, completed in London.
Looking at your drawings, even for a moment, the sense of atmosphere is very specific - they seem to envelope the viewer and also there is a sense of flying overhead of a landscape somehow…
There is an element of sacredness when I engage with my practice. I attempt to follow the same rules as one would if he/she/they visit a temple. This is because I envision my works as living bodies, bearing the same energy that I felt in the holy sites I visited. During documentation, I aim to capture one site several times a day to observe how the environment changes with the changing natural light. As a result, one will notice differences in the spacing between two lines, as well as the intersection of numerous hues, and how they elicit diverse emotions. I regard my work as the creation of diverse environments, and I strive to capture the energy of the holy spaces. As a result, the work takes on a landscape-like quality.
Within the new issue of M-A, I conclude the issue around the sense of the granular, almost as a pixel and yet made by human hand… more cellular - I was finding some highly specific examples of how artists are using mark making which feels micro and also macro - to be viewed from a distance - can you contemplate on the idea of zooming in and out, on the idea of viewing work physically from different angles and what that means to you
*There is a sense of granularity in my work, which stems from the way Indian embroideries are done. If one would observe Indian embroideries, they would sense the same granular effect, nearly like pixels when zoomed in — I use the embroidery approach in my practice, the only difference is the material. An embroider uses a needle and thread (traditional medium), whereas I use a 0.05 micron pen (non-traditional medium).
I’m constantly fascinated by the concept of distance — our experience of walking on earth differs from our experience of seeing it from space. Walking on earth would seem like a never-ending journey, whereas from space it appears to be a little ball. I’m fascinated by the idea of how distance may alter our perception of a certain thing. I strive to incorporate this element into my work — from a distance, my work appears to be some form of gradation, but as you go closer, you will sense the vastness inside the frame. My work will seem different each time you rotate it. The vibrations will alter because the lines produce an intensity that, when rotated, causes the epicentre of gravity inside the drawing to change altogether.
As an Indian person, I know you are aware of how your own culture is changing fast and yet you are very interested in the ancient, the craft, the hand, can you explore why this is?
Indeed, there is a stream of changes going on right now, but deep down, we still adhere to our conventions and traditions. Historically, India has undergone enormous changes as a result of invaders and colonisers who attempted everything to destabilise our country’s foundation, but we managed to maintain our ideals resolutely. And craft, weaving, and architecture are some of the best instances of how our ancestors managed to preserve this knowledge, which today’s generation enjoys without even realising and appreciating. And I believe it’s my duty to honour this knowledge. That is why documenting, archiving and trying to preserve what's available and extending my research through new mediums and interventions are important steps in the process.
What are your signals for change?
I firmly believe my art practice is my devotion to the divine and whenever I consider change, I am reminded of Sadhguru's words:- “True devotion means becoming the hand of the Divine. Whatever comes your way, you will know how to transform it into something beautiful.” Mindful changes are necessary, but I am not scared to go back if they jeopardise my underlying ideals and devotion.
Ashutosh Mittal is a contributing artist to issue 4 of M-A (A SPACE BETWEEN). Released in May 2025, London.