These forms, then, seem to have been extracted, assembled or woven together into new vital units. Or let us say, over here is an attempt at beauty of sheer velocity expressed in terms of the human torso in the dance. Poise, grace and vitality personified and given their fullest expression in the techniques of some performative forms. So that this work could be compared to the somewhat similar compositions in all abstractly geometric art patterns or dynamic designs.

The premises of the latest in line digital compulsions have, in one way, little to contribute to an assessment of this artists work. We can only avoid bringing to his organically informed, mesmerizing invocations, irrelevant pre-conceptions of appreciation and judgment if we attempt to situate them in relation to such current artistic meanings to which he, by choice does not align his spiritWhile Goyal is no outsider to whatever is loosely deemed as “Modernism”, the imaginative qualities that he frequently seems to project in his work are drawn from the still living Nritya tradition and which is so largely reflected in the Indian dance form. Forms, both art wise in their higher rung, as much as in the rites, rituals and spritistic communions of the folk. You just have to watch his key images to realize this aspect of his genre. Well, even if any other artists happen to share his unusual vision, his own acute, spare symmetry steeped manner takes his compounds creations to an elevated plane. They become artistically compelling; his geometrical rhythms suggesting a movement which energizes and quickens our pulse.

So that this art is a sort of resurgence; it rapidity facing forwards and inwards; is of images of crisp equilibrium and suspense, where the natural and the supernatural are as if engaged in a tete-a-tete. The works owe only a little to the apparent or observed reality. The ovoid images exist purely to act as the vehicle of a visionary world that is the instrument of possession and emotive purgation. In other words, they exist as an interior analogue which seeks to orientate and drive the viewer’s contemporary consciousness towards the realization of awakened primal possibilities, and away from those of the days excessively bland, unreasonably rational, machine made urban mass humanity. In their import the drawn images are almost iconic and as such their presiding paradigm is the contemplation of the twilight zone protean, creatively restless minds. His predisposition towards envisaging the vibrating sea of our inner world is timely. He manifests it as charged with the traces of the fabulous, much as is realized, for instance, via a theatre of meaning-pregnant, surprising possibilities, of strange specters and visitations Goyal has, in sum, been at pains to personify experiences, to reveal the identity, the nuance, the composite being of humanity. He is interested in transforming the humdrum surface events and in taking us aback with his liner personages. Normality is well and good for practical purposes, but beyond that, surely, is our life of hidden apprehension and suspense, with all itsattendant joys and dangers. And yet instructive wisdom issues out of it all. Thus, the artists as if, metallic images serve by withdrawing the viewer from the world of objects and his charged responses to them. He brings his viewer up against the unpredictable itself and nothing humdrum. This enactment, even when in modest space, plays the drama of our ebullient or erratic souls. Those by whom such a ‘theatre’ of lovely specters is peopled, have as their task the search and prefigurement of the mysterious sitting right in the middle of our sometimes now too cozy T.V. fitted living rooms.