JANUARY 20 2016
Time is a currency of which humankind can't control or manipulate. To some it serves the function of a concrete marker or an explanation of your relationship to the past. Human perception reaches its limit when asked to see time, its physical manner is invisible as temperature or sound; yet our existence is just as vital as these elements. It solely exists as a marker science has created, in order for us to gain a further understanding of our surroundings. Utilizing the color field canvas of the golden hour and its ever-changing gradients of light; beauty becomes the instrument in displaying the simplicity and intertwining narratives of light and time. Through large-scale prints of stacked collages, serial grids and video loops, the imagery seeks to understand time by breaking it down into manageable increments. The images visually compress, stretch or pull time apart; sequentially displaying the subject into smaller and more manageable pieces, all of which allow the viewer to soak in how much life can change in a minute.
Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Engineer often brought him to the lab. The daily experimentations happening around him, both personal and scientific, would later inform his work. While his parents wanted him to follow more straightforward career paths, he was the first in his family to eschew their expectations and pursue art and music instead. Malghan went on to receive an MFA in Photography from Savannah College of Art and Design - Hong Kong. Here he experimented in a darkroom, bleaching film, adding watercolor to glass plates, thinly cross-sectioning fruits and vegetables until they formed abstractions, beginning his exploration into the repurposing of materials. In his twenties, Malghan was diagnosed with Leukemia, the treatment of which resulted in avascular necrosis, a bone disease that eventually required numerous surgeries and three hip replacements. His experience through illness and recovery not only led him to photography, but also informs his manipulation of raw, often overlooked materials in order to reorient our understanding of beauty, pleasure, and purpose. Malghan has been exhibited across the country and has lectured in Hong Kong, India, the University of Texas, the University of Notre Dame - Maryland, and UMLAUF Sculpture & Design Museum. He most recently has been commissioned by The Walters Art Museum, and his work is in the private collections of Johns Hopkins University, the University of Texas, and Georgetown University. His work has also been featured in Wired, NPR, National Geographic, Vice, and elsewhere. He currently lives in Rockville, MD.
by Ajay Malghan
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Once your artwork is made by our printer, it must be allowed to outgas for 24 hours before being framed and/or shipped. ** Please note that we employ professional framers, shippers and handlers on all orders and only handle our prints with white gloves. While occasional damage by USPS or FedEx in transit is out of our control, we are happy to work with you to resolve any damage that does occur. However, damage in transit is relatively rare.
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Choose from our high-end white, black or natural frames, or opt for a more modern look by selecting facemounted to thick Plexiglas.
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- UV-blocking acrylic glass, which protects against 91% of UV rays.
- Acid-free, archival mats and materials.
- Taped backs to prevent dust from getting into the frame.
- Strainers on the back to reinforce the structure of the frame.
- Wire on the back of the frame for easy installation.
- Facemounted works are hung on a metal French cleat. Installation instructions are included in the packaging.
Extra small and small frames have .75" molding 2" mats, and are 1.2" deep. Medium and large frames have 1" molding, 3" mats and are 2" deep. Mattless frames have a spacer to prevent the print from touching the acrylic.
We do not frame the extra large print sizes because they are too large to ship without risking damage.
ArtStar does not accept returns. Works damaged in transit may be exchanged on a case by case basis within 30 days of arrival. Please email us as soon as you receive the damaged work at email@example.com. Please do not open your artwork yourself. It is very delicate and difficult to get back in the packaging without damage. Please let a trained framer open the artwork. We do not take back artwork damaged by the customer.
Please note that we employ professional printers, framers and shippers. Occasional damage in transit happens and is out of our control. We are happy to work with you to immediately resolve any damage that might occur. However, damage in transit is relatively rare.
We stand behind our art with a 100% quality guarantee. ArtStar prints on the best paper on the market with a fine art printer in the USA. Each work is created custom per order. ArtStar color matches every print to the artists' source file and fully authenticates every piece.
Please note that we work hard to ensure that all images are displayed accurately, however screen resolutions and brightness may reflect sublet variations from the final printed edition.
If your work is damaged or you received the wrong image please email us at firstname.lastname@example.org or call 212.995.5352