Every now and then, we come across pieces of art that render us all but speechless and amazed. Even though we know that contemporary art is objective, hard to define and even harder to accept, when we first saw Nandan Ghiya’s deFacebook project at Galerie Paris-Beijing, we just couldn’t wait to share these imposing images with you. Nandan Ghiya was born in Jaipur, India and graduated in Fashion Design from the National Institute of Fashion Technology in New Delhi. As he hails from a family where antiques and old photographs are well respected, this has helped him form his own perspective of genealogy and visual arts. Within the 'deFacebook Project', the artist has included a couple of different individual collections such as 'The Family Tree 2.0' and 'Single & Available'. Through these artworks, he has gone on to develop his unique point of view on contemporary societies and human relationships thereby making his work an interesting interface between the past and the present where faces, genres and pixels mix and match in a series of vintage print collages. His exhibits represent a peculiar recycling of different times where our everyday habits become part of our past and our past is suddenly attached to modern society.
The most interesting component of Nandan Ghiya’s work is the way in which he uses social media, dating websites and online forums in order to create scenarios with imaginary families composed of members who have no relation in real life. In stimulating human interaction with a twisted meaning whilst experimenting with vague periods of time, he manages to engage the viewer and make him/her a part of the subject. Error windows and distorted images resemble the digital impact of our daily routine presented however in a tangible, 3D fashion with which to introduce a new aspect in what we consider art today. With his great eye for detail, his portraits are so close to the digital that it is sometimes impossible to realise that the result is not just another visual effect.
Nandan Ghiya has succeeded not only in challenging our understanding of genealogical trees but in also placing an emphasis on the flux of our identity. He is profoundly interested in aggregating profiles and broken pieces and in turn raises the question of who we are and where we come from.
> Everyone was connected, in one way or another, to the cast of characters hanging on the walls in our house. They created relationships between us. <