C How did you approach designing a pair of spectacles?
L I really haven't designed anything like this before. But I'm always drawing from life, and at the moment when I was thinking about the design, I was drawing a lot of reclining nudes. So that became the basis of the inspiration for a pair of spectacles. I wanted the spectacles to be a three-dimensional version of my artwork. My signature is always the line. I love working in the line. So it was a simple idea, and it came together in the frame.
C Presumably you always want to introduce an element of the figurative into what you did?
L Yes, it had to be. Initially when I was asked, I asked myself: ‘How do I do that?’ I was stumped for a while. But I’m happy that we managed to get parts of my drawings into the frame.
C How did you un-stump yourself?
L For me, it started with some really simple lines. I wanted to convey that flow and movement of my line—the very organic, voluptuous shapes—and put that into the frame. And Cubitts helped to execute that and put it together.
C It’s composed of parts of the body. You often focus on the body in its parts, rather than the whole.
L I initially started looking at small details of the body during lockdown, because I was pregnant at the time and I wanted to look at my body differently. I zoned in on all the little aspects of the body, the lumps and bumps that we often find unattractive.That's become part of my work. I honour those parts that we often dismiss and don't want to love about our bodies. I've put them into art because I want people to see that they are what makes us unique. We all have them and they should all be loved and honoured.
C Do you feel you don’t see the body represented like that enough, in art as a whole?
L Absolutely. These things that we always shy away from looking at or sharing. The body is so scrutinised as a whole—especially women's bodies—so that's my way of showing women that they’re worthy.
C You’ve said before that you’ve had the instinct to draw since you were a child. Is there a childlike approach to creativity that's important to you?
L Probably more now. I work much more on instinct, and that was something I wanted to hone over the last few years. Before that, I usually used a reference. Now it’s a lot more free, and I allow myself to explore much more.
C You’ve produced a certain amount of work at this point, I suppose you can tap into those internalised references?
L Yes, it's muscle memory and just having confidence not to have your hand held any more. Before, when I was drawing the body, it had to be true to the subject. But the body is so diverse and so different. There are elements of everyone in everyone.
C Has it allowed you to move into more abstract territory than you were previously comfortable with?
L I think my work is quite abstract anyway. Even though elements can be really detailed and recognisable, there are always these different pieces jigsawing together. While something can look very specific, there might only be a glimpse of the subject.
C The auction is in support of the creative arts charity, Create. Can you talk about the link for you between creating and your mental wellbeing?
L I didn't pursue becoming a full time artist until my mum passed away. That was the turning point. I realised life can be taken away so suddenly, so I should do everything in my power to enjoy it. And being an artist is inherently who I am.I've drawn my entire life. I studied architecture because I felt—as a child of two immigrants who had come here and worked so hard—I thought that was the balance of what could give me my art and a stable future. But after my degree, I realised that I’m an artist at heart. All artists are doing it because they don't know any other way to exist.
C Does architecture still come into your practice?
L Yes, the way I draw the body is very architectural. It took me a long time to see that connection until someone else pointed out to me. I see the body and its proportions architecturally. But in a way, I choose not to.
C I think we need to mention colour. Presumably your frame was always going to be blue?
L Yes. I think people who know me know that my work is very much steeped in my personal experience and emotions, and my motherhood, which is a reflection of the motherhood that my mother gave me. Blue is my mum. That's why it's so incredibly important to me. It’s my way of keeping her with me, always.
C Thank you very much.
L Thank you.
Laxmi's frame is one of nine one-off designs, available to view in Cubitts Islington, and to bid on in an online closed auction, for the duration of London Design Festival, 14-28 September.
To be the first to find out when bids open, register your interest here.
