Within You, there is a Stillness and a Sanctuary

Oil on linen, 60 x 48 inches, 2024

An atmospheric homage to the Indian thespian and cultural icon Simi Garewal, this painting captures the essence of her enigmatic persona. Garewal, who broke barriers despite the substantial challenges upon brown women during her era, is portrayed with an emphasis on her ethereal beauty and timeless je ne sais quoi. Manuja frames her as both muse and icon, encapsulating her rare ability to balance fragility with intensity in her selective yet impactful roles. This work not only acknowledges Garewal's artistic contributions but also reflects the broader cultural context of her time.

The central portrait captures Simi from the film adaptation of Hermann Hesse's Siddhartha, directed by American director Conrad Rooks, showcasing one of Simi's most compelling performances. Interestingly, Rooks was an heir to the American cult cosmetics brand Avon, a pioneer in advertising for feminine beauty in midcentury USA. In the movie, the portrayal of Simi's character Kamala embodies the archetype of the exotic muse—an alluring figure who inspires the male protagonist's spiritual journey, rather than to shape her own destiny. This depiction reflects a broader colonial gaze: a white man interpreting and framing a foreign culture for a Western audience, exoticizing and simplifying what could have been a more authentic expression, had it been created by someone from the culture being represented.  The muse is admired but ultimately voiceless, a symbol rather than a creator. Despite the heavy tones of orientalism, Simi shines in her performance, reflecting a unique ability to embody both tranquility and profound depth, mirroring the inner sanctum of self-realization described in Siddhartha, “Within You, there is a Stillness and a Sanctuary to which You can retreat at any time and be Yourself.”

Suspended in ether, the painting transcends mere portraiture, honoring Simi Garewal not just as a superlative actor of unparalleled brown beauty, but as an enduring icon whose layered complexity reflects aspects of the socio-cultural landscape of Indian femininity in the seventies and eighties. The work is an exploration into themes of representation, idolization, tokenization and the intricate roles cultural icons like Simi play in shaping collective memory.

The subtext is reclaimed self-orientalism, presenting Indian femininity through a campy mood that intertwines the commercial spectacle of midcentury Western cinema's stereotypical and fetishised representation of Indian culture as spiritual and sensual. Simi’s form evokes the elegance of classical rock-cut sculptures from Ajanta and Ellora, yet refracted through the orientalist gaze of the Western cinematic lens. This deliberate mimicry embodies Waldia’s critique of how the Western male gaze portrayed Indian femininity and allure during that time: idealized yet tokenized, celebrated yet lacking authenticity. 

Simi is surrounded by objects with an old world soul and unattainable luxury, much like her persona. She is painted with a reverence akin to the depiction of religious icons, and surrounded by motifs of opulence and desire. The conch shells, butter sculpture, and pearls allude to both material and metaphysical luxury, underscoring her elevated status as a cultural deity. These symbols, reinforce the duality of her persona—she is both a subject of reverence and a projection of beauty fetishized through the male gaze. She is an unconventional woman flouting traditional patriarchy in the Eastern world, but repeatedly cast in orientalist roles by the West.

The work hopes to start a conversation about decolonizing such representations of brown women: shall the muse reclaim her agency, her role no longer confined to passive inspiration? Will she be a story-teller, weaving narratives that are complex and authentic, rooted in lived experience rather than imagined allure?