Mrini Gorla Claimed

Emerging Indian artist working on Indian Music based in Hyderabad.

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Mrini is a Hyderabad-based conceptual artist whose practice investigates the intersection of sound, memory, and visual form.
Her work translates rhythms, silences, and cultural resonances into spatial and tactile experiences. Moving fluidly between canvas, installation, and mixed media, she treats sound not as representation but as a conceptual seed — unfolding into new perceptions of texture, rhythm, and material.
By reimagining the invisible, Mrini’s practice asks how music, memory, and identity might exist beyond their conventional boundaries.

My creative process is an exploration—a journey that begins with sound and culminates in visual expression. As a Musical Conceptual Artist, my work is rooted in the deep connection between music, culture, and history. The process I follow is both intellectual and intuitive, a blend of research, collaboration, and personal reflection.

Research and Immersion

Every project begins with immersion—I start by deeply engaging with the musical traditions I’m exploring. This includes extensive research into the history, cultural significance, and evolution of the musical instruments that inspire my work. I often conduct field visits, meet with folk musicians, and consult with historians, musicologists, and cultural experts to understand the nuances of each instrument and its role in shaping Indian music.

 

Conceptualization & Creation

Once I have gathered the research, I begin to conceptualize the visual metaphor I want to create. I think about the emotional resonance of the music, the cultural context of the instrument, and its evolution through time. This stage involves a lot of sketching, experimenting, and exploring different ideas. I draw from both traditional artistic techniques and contemporary approaches to create visual narratives that express music in new ways.

Integration of Visual Metaphors

The true essence of my process lies in visual metaphor—using shapes, colors, and textures to symbolize sound, rhythm, and emotion. I often draw parallels between musical elements (like the flow of a raga or the repetition of a tala) and visual principles (like movement, repetition, and contrast). The goal is to make the viewer feel the music, not just see it.

Reflection & Refinement

As I near the completion of each piece, I step back and reflect on how it aligns with my initial concept. I allow the artwork to “speak” to me, making adjustments where necessary to strengthen the visual impact or to further emphasize the connection between music and its cultural significance.

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