Bowerbird: An interview with Visual Artist, Oormila Vijayakrishnan Prahlad
I see my current work and the materials I use as a celebration of my cultural heritage, and the integration of my spirit and identity with that of my new home. ~Oormila Vijayakrishnan Prahlad
This is the first time West Trestle Review has invited an outside artist to fill an entire issue, but when our interim art editor, Rick Ross, saw the samples that mixed-media artist Oormila Vijayakrishnan Prahlad sent the journal, he was hopeful that she might have more to share with the journal. We are thrilled with the way each piece complements the texts that we've published here. Read Ross's interview with Vijayakrishnan Prahlad to learn more about her inspiration, her process, and her art life during Covid lockdowns.
Rick Ross: I was drawn to your use of vibrant colors and curious about the varied landscapes of New South Wales that inspire you. I found myself searching for images of New South Wales and can easily see how one could find inspiration in these vibrant scenes. Could you tell me about the significance of the materials you use to create your paintings and how they became part of your creative process?
Oormila Vijayakrishnan Prahlad: Thank you for the opportunity to talk about my work. I am a bowerbird—I collect all kinds of odds and ends which I keep labeled in boxes in my studio. I have everything from lace, wool, embroidery threads, vintage magazines and books, to old clothing from friends and even wool that I have spun from my cat’s hairbrush! I embellished a series of winter themed artworks with “cat-wool” this year and it looked pretty cool. I am always excited to repurpose waste materials to make art.
Lately, I have been exploring the possibilities of collage and mixed-media. My last trip to India was in 2019 for Christmas. I brought back many bags of silk scraps and cloth bits with ethnic Indian prints from my mum’s sewing projects. During the lockdowns, I began to experiment with adding fabric details in my artwork, creating several series of mixed-media fantasy landscapes. These were inspired by my memories of painting en plein air. I recently became an Australian citizen. In a symbolic sense, I see my current work and the materials I use as a celebration of my cultural heritage, and the integration of my spirit and identity with that of my new home.
RR: Congratulations on becoming an Australian citizen!
I love the idea of repurposing waste materials to make art. It’s interesting that during the isolation many are feeling in this pandemic—when so many people are not able to be together physically—you are creating pieces that have an almost tactile feel to them and have a physical presence beyond the image.
You mentioned that the pandemic has changed the way you work. For instance, these pieces were created as remembered scenes, as opposed to the plein air experience you enjoyed pre-pandemic. What are your thoughts on how this affected you as an artist? Do you think you will continue to incorporate remembered scenes in your work going forward?
OVP: I never thought of it that way till you mentioned it! Tactile art in the time of physical distancing. I love the interpretation!
The pandemic was a time of introspection for me. During the two Sydney lockdowns, I spent most of my time in my studio. In some ways, the urge to experiment with my art came from a desire to break out of the restless state of mind I was in.
For years, I had been creating impressionist pieces. My paintings were either painted en plein air or inspired by the photos I had taken on my travels and daily walks. During the pandemic, I started challenging myself to incorporate more abstract elements in my work, to think beyond the immediate. I also started publishing poetry after a gap of 15 years. I feel that this also affected the direction of my art. I began to create hybrid pieces with text as part of my compositions. I found myself loving the stimulation of open calls, and creating pieces to suit specific themes. It was completely unlike anything I had done before. I really like the path that I am currently on— making art based on elements from memory. So yes, I am definitely going to continue and see where it takes me!
I live on the traditional lands of the Eora Nation. It is bounteous and beautiful and inspires me deeply. Thank you, it is a privilege to become an Australian citizen.
RR: It’s wonderful to hear about your growth as an artist during this difficult time. I think it is a common experience among many artists that a limitation or restriction will drive them to experiment in other ways. I’m happy to learn that you are writing and publishing poetry again. The combination of words and images together can be very powerful!
This is the season when we often take time to reflect on the past year. Would you be willing to share your biggest challenge and greatest achievement as an artist in 2021?
OVP: I think most people would agree that 2021 was a bizarre year! It was no different for me. My biggest challenge as an artist was coming to terms with losing my teaching job. Right after my birthday in July, the after-school program where I taught art for many years, shut down thanks to Covid. It was a job that I really loved—I taught primary school kids and was responsible for everything from curriculum development to conducting the classes. I had done some really satisfying work with the kids in the past few years. It took me a while to come to terms with the fact that I wasn't going to find a teaching job easily in the current climate of ever-changing restrictions and lockdowns (I am still unemployed!) Also, I haven’t been part of the usual shows where I exhibit, since the summer of 2019.
Paradoxically, my greatest achievement came from my greatest disappointment—because I was home all day, I spent most of my time in my studio and was able to fully immerse myself in my practice. I created more than 250 small paintings (mostly A4 and A5 sized) and published about 79 of them in literary magazines! So my biggest achievement as an artist in 2021 was leaning on my art to get out of my mental rut and somehow ending up super-productive! I must stress that I was also able to do this thanks to the backing of my partner who wholeheartedly supports me and my dreams.
RR: I’m so sorry about your job. 2021 certainly was a bizarre year. I’m glad your art helped you through that difficult time, and I hope our readers will find similar joy, hope or inspiration from your work. Thank you so much for being our featured artist and for all your contributions to this edition of our journal.

Oormila Vijayakrishnan Prahlad is an Indian-Australian artist and poet, who serves as a chief editor for Authora Australis. Her recent artworks have been showcased in The International Zine Project, 3 AM Magazine, and Oyster River Pages, and on the covers of The Amsterdam Quarterly, Pithead Chapel, The Rat’s Ass Review, Ang(st) the Body Zine, and elsewhere. She is a Pushcart and multiple Best of the Net nominee. She lives and works in Sydney on the land of the Ku-ring-gai People of The Eora Nation.
Vijayakrishnan Prahlad's pieces are 8”x 6”and have been made with acrylics, gouache, paper and cloth bits, pens, distress inks, and gel medium, on canvas grained paper. Vijayakrishnan Prahlad loves using bright and vibrant colors in her paintings. Her work is inspired by the rich and varied landscape of New South Wales, where she lives. Before the pandemic Vijayakrishnan Prahlad used to paint en plein air on the South and Central Coasts, an activity she greatly enjoyed. These images published here, however, are remembered scenes and part of a new series she is currently working on. Follow her at @oormilaprahlad.
Vijayakrishnan Prahlad's pieces are 8”x 6”and have been made with acrylics, gouache, paper and cloth bits, pens, distress inks, and gel medium, on canvas grained paper. Vijayakrishnan Prahlad loves using bright and vibrant colors in her paintings. Her work is inspired by the rich and varied landscape of New South Wales, where she lives. Before the pandemic Vijayakrishnan Prahlad used to paint en plein air on the South and Central Coasts, an activity she greatly enjoyed. These images published here, however, are remembered scenes and part of a new series she is currently working on. Follow her at @oormilaprahlad.
Powered by Women