Interview: Shine Shivan

Shine Shivan: Sperm Weaver, 2009. Single channel video, 2 min. 12 sec. (looped), ed. of 3.

To set the scene, please make a brief introduction to your show and to its title Sperm Weaver?

I explore the self through my works, looking at how masculinity is defined socially and psychologically. In my exploration I find myself continuously drawn to nature to find answers to questions related to gender and sexuality. The title in some sense is suggestive of the content and context that is created by the works presented. Sperm Weaver was the title of a series of works in the show and exemplified the thought process and ideology that run through each work. The title references two extremes of gender role-playing. The first word, 'sperm', is a typical male referential, and 'weaving' connotes a socialized feminine activity—I question both these extremes of gender

stereotyping and everything in-between.

In connection with the exhibition, you have stated that the male has become feminized in modern society, and that you have your own idea of masculinity in a ‘post-feminist’ world – could you elaborate this idea about a new masculine identity?

For me it extends beyond the vague constructs of ‘masculine’ and ‘feminine’. I like to discover, try on and further explore the in-between spaces between these two monolithic constructs of identity that socialized human beings subscribe to. There are so many nuances in how we think and behave ‘male’ or ‘female’. That is what I mean when I say that the male has become feminized. The female has also taken on male qualities and behaviours. In Second Hand Pepe, for example, an assemblage of found and used elements, I speak directly to this blurring of the boundaries between the two. Through my work I am highlighting the instability of gender (which is different from our biological sex).

Shine Shivan: Used Dicks, 2010. 48 x 120 inches. Baya Weaver nests, human hair, coconut extracts, grass, cotton thread, natural gum.

If I may be so frank – in what ways does it make sense to talk about a feminized masculinity in a country like India where male dominated religions as Islam and Hinduism still has a strong hold on gender relation?

It is this very reason that makes my art relevant. Indian society is largely patriarchal, especially in the rural areas. Further, homosexuality, transgender, cross-dressing - all of these notions which defy mainstream sexual norms continue to be widely decried. I feel that art builds awareness, and needs to question, confront, and brave general practice and opinion in order to begin to create that awareness.

It seems to me that your use of both natural and cultural materials and object is not only related to a aesthetic purpose, but also mirrors the complex discussions about whether gender and sexuality are anchored in nature or if they are results of social, context related constructions. Is that a correct interpretation?

Yes. I do find the materiality and textural nuances of natural materials very enjoyable to work with and also very suited to experimentation with form, function and context (which interests me). I feel that there are so many examples in nature which also raise as many questions as answers in terms of sexual roles. For example Used Dicks is based on an exploration of the nest-weaving habits of the Baya Weaver bird. Although weaving is socially viewed as a feminine act, in the case of the Baya Weaver bird, these roles are reversed. The male Baya Weaver weaves the “cockswing” shaped nest in order to lure the female in to mate and eventually nurture the resulting offspring. So this is an instance in nature which raises questions for me of whether the notion of fixed socio-sexual identity is desirable or even tenable.

Shine Shivan: Rape of Ganymede, 2009. 18 x 40 x 12 inches. Taxidermy eagle and crane wings, semi-precious stones, fabric, cotton thread.

Your exhibition must have been quite controversial because of the very explicit references to sexuality and gender bending, how has the press and the audience reacted to your show?

There have been strong reactions to the show. The point is that it seems to have shaken people’s notions of gender in a more socio-political context and notions of materiality in the artistic context. The viewer don’t necessarily have to agree with me, but if my work has made him/her think about and question the stereotype, then to me that is a success.

Where do you seek and find your sources of inspiration – and how are they incorporated into your works?

I look within myself and without to the natural world. The works are semi autobiographical in that I question set societal norms of sexuality and what it means to be an Indian male, as refracted through my individual set of experiences. At the same time, I look towards nature to find some of the answers and paradoxes that exist with regard to sexual roles.

Shine Shivan: Empty Spaces Between Desire and Fantasy, 2009. 84 x 76 inches. Palm thorns, dried bottle gourd, dried pumpkin, fabric, cotton thread, aluminum wire.

Even though India is one of the oldest cultures in the world, you don’t really have a long tradition when speaking of a modern ‘language’ of art, how has that influenced you as a young, upcoming artist?

Each generation creates its own language, I feel. While it is nice to have history on your side, it does not necessarily impede creativity especially in this day and age when travel as well as the dissemination of and access to information has become so much easier. It is easy for one to feel a part of a shared history.

Lastly, what are the greatest challenges facing you right now as an artist, and what are your wishes for the future of contemporary Indian art?

As an artist I am focused on continuing the dialogue begun with these works and exploring new media, materials to express my ideas, thoughts and feelings with the world. I hope my work inspires a shift in thought processes of even a few individuals who come in contact with the work. I hope to inspire a new generation of young artists to speak their minds freely and innovate with form and material so as to take forward Indian art as we now know it.

Thanks.

Shine Shivan: Second-hand Pepe, 2009. 22 x 27 x 20 inches. Used dentures, human hair, bird feathers, glass lenses, used fabric, semi-precious stones, aluminum wire, jute, coconut thread.

Shine Shivan: Sperm Weaver I-V, 2009. 24 x 32 inches. Digital print on Hahnemuhle photo rag paper, ed. of 4.