The Future is Not My Gender
An interview with Renuka Rajiv
Mohit Kant Mishra
I studied printmaking with the intention of doing illustration work but it went off in a more independent direction. I enjoy working with paper and fabric. Immediacy is important for me so I try and have a regular working habit and explore through ‘doing’. I switch between mediums like ball-point, papier-mâché, stitching, collage and animation because it is refreshing when I get stuck after working on something for a while.
Renuka Rajiv is a Banglore based artist who works in several mediums such as drawing, painting, sculpture, textile work, installation, drawing zine etc. Renuka has received her diploma in Digital Video Production from Srishti School of Design, Banglore, India (2007) and Bachelor of Fine Arts, Printmaking from VCA, Melbourne (2010). I happened to see her work at Vadehra Art Gallery, Delhi (2016), in the group show ‘At The Turn Of The Page’, curated by Shivangi Singh. I liked the monotypes very much. The way the lines were imperfectly drawn, constructing narrative compositions; it gave the feeling of peculiarity, fragility, nostalgia, and tranquility.. I wanted to know more about the works and the artist’s process. Recently Vadehra Art Gallery has curated a show of Renuka’s works titled ‘The Future Is Not My Gender” as a result of the Emerging Artist Award she received from FICA, Delhi (2016). I knew this would be my chance to talk to the artist, and ask her if she would allow me to interview her.
Mohit Kant Mishra: What is the show ‘The Future is Not My Gender” about?
Renuka Rajiv: The show comprises of a group of works made over a few years. The fabric works were made over the last two years. The monoprints and one animation are a bit older. I like to work with either a consistent structure (size and repetition mostly) and/or medium. The content within is spontaneous, keeping with certain themes/ elements like physicality, first person narration, repetition, figuration etc. The titles accompanying the work are a structural element that might work like a connecting thread. But they all express fragments from my personal landscape, including the title.
MKM: Can you tell us about your practice?
RR: It’s a drawing centric practice. I studied printmaking with the intention of doing illustration work but it went off in a more independent direction. I enjoy working with paper and fabric. Immediacy is important for me so I try and have a regular working habit and explore through ‘doing’. I switch between mediums like ballpoint, papier-mâché, stitching, collage and animation because it is refreshing when I get stuck after working on something for a while. 
MKM: How did you come to draw the way you do? Did it come on its own or did you choose to draw this way?
RR: It reflects my impatience. For whatever reason, my work has been line oriented from as long as I can remember. And while studying printmaking I got to attend life drawing classes and some of those exercises (like negative space study) have definitely had a positive impact on my drawing. But I am open for the ‘style’ to change.
MKM: What change do you see in your practice and in yourself as an artist since you started making art?
RR: It’s more like 6 or 7 years since I completed my studies. It’s hard to say if the work is getting better in one sense, but definitely I have to try finding something new, at least a different angle or approach because I can’t keep repeating myself. That way I feel more stuck now than 6 years ago. But I might be more patient as well as have the capacity to work on something for longer durations than before. Which doesn’t necessarily mean it makes better work.