Alamelu is a contemporary breakthrough artist, educator and curator whose ability to ambidextrously draw thrust her into the global limelight via the digital platform of Instagram in 2018. She was featured on their Weekend Hashtag Project: #WHPshowoff. Recently, she demonstrated her evolving talent by co-curating her first exhibition, Rinse & Repeat, based in London at Sugar House Island in Stratford. This exhibited the works of eight South-Asian women, including her own, exploring the theme of “physical and temporal distance from the homeland, examining layered and intersectional aspects of identity.” Alamelu has also received the MFA Art Prize and graduated with distinction in the MFA in Fine Art course from Oxford Brookes University in 2022.
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The rising creative elaborated on her recent show: “the main concept of Rinse & Repeat was approached through the lens of repetition which could be through visual patterns or narrative structures: it is about memory, identity and cultural heritage. The artists featured are all living and working in London: Meghana Gavireddygari, Shivangi Ladha, Smriti Mehra, Vasundhara Sellamuthu, Divya Sharma, Asha Vaidyanath, Darshana Vora, and myself.” Alamelu’s displayed works include Moving Pieces (2022-24) and Tac-tile (2024) where the collection generally consisted of various mediums ranging from sculpture, print and painting to installation and fibre: “The former piece looks at my heritage. I am from Chettinad, Tamil Nadu, and in my recent work, my art has been more introspective as opposed to external: the regional tiles on the floor are created with books which are sacred in our culture and highlights the changing foundations of home. The material is re-purposed, removing from an existing context. The laborious process also serves as a meditative practice, emphasizing the value of slow, deliberate work in a world accustomed to rapid production. My other work is Hand Embossed Relief on Paper, using LED Lights, and makes you want to feel it physically – this evokes the idea of materialistic goals and material possessions, and wanting to possess this although by nature such a feeling is elusive.”
Alamelu’s signature cosmopolitan approach to traditional subject matter then reflects an expression of modern identity that is still inextricably rooted in quotidian culture which is ultimately a universal experiential sentiment: this idea is amplified by the diverse yet intimately interconnected show. “Overall, I draw from personal memories,” she stated of her process, “the intricacies of language and communication and embrace the artistic route that emerges from that. I enjoy the interplay of language and text, and printed words themselves have a meaning where we are now in a digital but again the materiality of books brings a lot of nostalgia.” Here, interestingly, Alamelu states the definition of strong abstract art to be: “incredibly subjective. One day, I may be drawn to something that has no colour and is very minimalistic. Other days, it may be a feeling of energy that attracts through expression and colour with a lot of brushstrokes. Abstract art must appeal to state of mind and be able to invite the viewer in – there must be an element of interest. This is an internal experience for me.” In short, to be refined, conceptual work must evoke unique intrigue and even deeply inspire.
The young artist has been influenced by her very creative familial background and experimented for quite some time: “My grandad owned a textiles factory while my mother is an untrained artist. I think art is organic for me - half the time I’m only realising what I want to say after I have created!” Indeed, the way in which Alamelu discovered her impressive ambidexterity was accidental. Having taken on a lot of commissioned work, she simply found herself using both hands to save time before it became a bona-fide technique! “In order to complete the work faster, I would experiment with drawing blind or upside-down or mirror images. I studied hand and brain co-ordination – the drawings would around take 5-10 mins such as a drawing on Instagram on the tube. I enjoy observing people as well.” In terms of the individual appeal of curation, the artist commented:
“I enjoy discovering the resonant dialogue between pieces where the overlapping themes create a greater total narrative that loyally encapsulates the exhibition. It is also important for this to work visually in terms of the particular wall space: the context of one work can change entirely in the presence of another. In Rinse & Repeat, for example, Gavireddygari investigates childhood memory through painting, printmaking, and sculpture. Ladha's art navigates social, political, and ecological landscapes. Mehra utilises ethnographic research in her video practice, touching on labour and material culture. Sellamuthu explores cross-cultural hierarchies through relief paintings and sign making. As a textile artist, Sharma works with themes related to diaspora and displacement. Vaidyanath’s text and textile work archive the intangible, intrinsic, sometimes contradictory process of repetition. Vora’s conceptual work references the spatial fabric of the city - its rituals, processes and imagery: speaking to larger themes of place and belonging, the exhibition space is finally framed as an active site for reflection and reinterpretation.” Demonstrated through Alamelu’s luminous thinking and the engaging works in the show, the world of emerging experimental art reflects not just the stunning adaptability of subjectivity but also the creative power of the collective consciousness in deftly shaping perception.
Have you felt welcomed into the artistic community in the UK as a South-Asian artist?
Yes, very much so. I Came to the UK to do my MFA in Oxford and was the only South-Asian artist there – but I felt acceptance and curiosity about my work. London is diverse anyway: the challenge is more in finding your creative niche and differentiating yourself successfully.
What has been a success for you as a visual creative?
Measuring success happens on a personal level: when I finish work, there must be harmony between both its reception and my happiness completing the piece. Nominal recognition is pleasant but it doesn’t mean much without a feeling of satisfaction.
Have you been happy curating a show in such a central location?
It has been great. We have also been engaging the community with workshops that are free –we are working in partnership with Hypha Studios which is a charity that gives opportunities to artists to showcase their work in unconventional spaces but brings the artwork to the area.
I: @alamelu24
