Ashok Hinge New Work at Art Gate Gallery

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26th July 4th August : SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
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There is a great difference between a sculptor and a stone cutter... 

A special skit for Artists

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शिल्पकार आणि दगड कापणारा, यांच्यात खूप अंतर आहे… 

by Pankaja JK

 

12th July SAVE DATE: ART TALK by Pradeep Nerurkar

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12th July SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
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FILM SCREENING SATURDAY at Art Gate Gallery

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12th Julye SAVE DATE: FILM SCREENING SATURDAY at 5pm Art gate gallery, churchgate Mumbai
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I am not categorized as the imitator of someone. I like this sense of individuality: Ganpat Bhadke

Recent work by Ganpat Bhadke

I am mystified by Palshikar’s use of colors and themes of Gaitonde says Ganpat Bhadke. But he maintains his individuality and does not merely remain their imitator. He is an explorer of Universe and a meticulous probing mind in the secrets of Universe and its impact on the living beings on planet called Earth. Nature has always been the core of his theme right from the beginning of his painting process. He first mastered the art of landscaping and made a smooth transition from landscapes to portraiture of especially of pilgrims he encountered at Nashik’s religious sites, who move in mass and each of them carry varied expressions and gestures. Starting from Aurangabad, moving on to Nashik, the under-developed areas he moved on to metropolis like Mumbai and then Delhi. He had the liberty to meet masters such as Manjit Bawa, Shanku Chowdhary, Himmat, Shah, Bhushan da, Krishen Khanna, G.R. Santosh and Arpana Caur who had deep impression on him.

His internal vision sharpened as he stayed in urban areas and experienced the difficulties of survival. Peace of nature and hustle-bustle of urban life stirred his mind and he studied how surrounding and environment made deep impact on human life. So, moving from just external beauties of nature and bodily expressions of human, his conscience dived and swam the ocean sub consciousness wherein he colored objects with his own perspective to make it different. He blended expressionism with landscape and portrait art. He presented this work in exhibition named “Human relation’ which was recognized by Lalit Kala Academy.

Later on, Ganpat Bhadke brush with Adivasis, the men much closer to nature than the metropolitans. Their child-like innocence, simplicity and straightforwardness inspired him to paint with freedom and devoid of aggression and ego, projecting simply the happiness and bliss. It resulted into ‘Dissolution Series’, followed by the new emphasis on beauty, gaiety and freedom and his art reached its zenith in the series of works aptly called “Garland of Vision”. In this he used a flower as a symbol for the human form for its innate qualities of simplicity and beauty which remain even in its desiccated and fossilized state. He used diffused color schemes and viscous forms to create a dreamlike imagery with symbolic representation of flora and fauna.

His promotion on next level of understanding and deeper vision could be seen in “Evolving Phases” reflecting his art journey. Abstract art is not easily deciphered by mass. It is only the spread of colors on canvas or intermingled geometric figures.  But in fact it is the color of nature, interpreted reality. Mostly they are the metaphysical ideals that are shapeless and formless.

Visual artists, from the generation have dealt with mysticism or occultism at their core, which cannot be expressed in a particular form than in geometric compositions. Ganpat Bhadke applies this method to present the complexity of nature, show harmonic relation between man and nature, man with other living things and real and mystic. All done and created in classical manner.

Apart from painting, he has diverse interest which lead him to be a part of various medias, including films and animation, where he has directed various animation films for different production houses. He also worked with writer-director Dr. Chandra Prakash Dwivedi in his book publishing projects. He has also tried his hands in publication units. It is a an awesome experience to watch the creations of this well-learned and all rounder artist.

by Pankaja JK
 Art critic & writer:- Art blogazine 2014

 

Ganpat Bhadke  who sums up existential philosophy in the visual triangulation of forms converses with Pankaja JK  revealing his passion of painting and the practical matters.

Ganpat Bhadke at Studio Mumbai

J.K.) When did you first start painting and how did your journey as artist began?

G.B.)Though I loved painting from childhood, my real journey as an artist started in 1985 painting objects during Foundation course in Aurangabad. Being in such an historical place, I tried my at hands at Ajanta and Ellora paintings for sometime. Later on as I came to Nashik for Diploma I developed skill in watercolor style. My journey began in either historic or naturally rich arenas. Here too I was fascinated by natural beauty and religious sites and I started painting that. But as I visited religious sites of ghats and on hills I became interested in nature and expressions of people or pilgrims which aroused me to capture their feature in portraiture and thus one more feature of painting- Portrait became the topic of my interest. Later as my academic path broadened and I came to Mumbai, held exhibitions, my art was recognized and I gained many prestigious awards for my landscapes and portraits.   

J.K.) How would you describe your style?

G.B.) As I mentioned earlier, I tried my hands at every style from simple objective to abstraction. All my styles have been appreciated till now. As I contemplate, it is because the colors in my paintings are transparent like oils. I am basically inspired by nature but many a times abstract paintings develop from the subjective point of view. They are mostly in geometric forms, because if you observe nature you will find that is not formless but has a particular form for each of its element. So do my abstractions have.  

J.K.)  What motivates you to paint?

G.B.) I feel this is an absurd question in my case, because I never deliberated on the topic and decided to make it a target. Anybody or anything inspires me. World is full of mysteries like the cycle and aura of nature, various emotions and feelings of people, bodily and facial gestures, human and animal approaches among themselves and other species around. All such things at any given time or place motivate me to pick the brush and capture them on my canvas. Its like, my canvas awaits and welcomes every minute element to be protagonist of my painting.  

P.K.) Is abstraction a western idea? Why is it a best way of expression in painting?

G.B.) Yes, it is a known fact in art world that Abstract painting is a western concept. But I think Indian beliefs and scriptures too have abstract concepts which were never capture as medium of expression in art. From earlier times we presented just that what is visible and in grasping power. Interpretative comprehension did not matter to us. But Indian philosophy is full of abstract idea. I will just give you one example. A stone is regarded highly as God and given there is some similarity of that stone’s form with the image of God. It secures place in temple and permanently in heart of people. So I think though it was brought in limelight by westerner, it is an Indian concept too. 

P.K.) How do people accept your paintings? Does their opinion have influence on your work?

G.B.) People have accepted me as a painter with difference. As I do not follow the foot steps of well-known artist and develop my own creations in most natural and child-like way my work is never compared to any other artist. I am not categorized as the imitator of someone. I like this sense of individuality. As far as criticism is concerned, I hardly have any negative responses. I do not spend time in brooding over them. And those positive ones of course, boost my spirit.  

J.K.) Art is for business or passion?

G.B.) First a passion and if sold –a business.

P.K.) Which artists inspire you? Can you tell us any specific feature of their paintings that holds your interest? 

G.B.)  Nature is the greatest artist. But in art circle I highly adore painter Palshikar and Gaitonde. Palshikar sir’s use of color is beyond comparison. And I also have high regards for G.S.Gaitonde for his subjects or themes. 

J.K.) What do you think would be the status of your painting 100 years from now?

G.B.) Let me put it as ‘status of Indian Art’ because I am one part of It. Being culturally rich and having great philosophy makes India stand out from the cluster of art. It has a promising future and very soon art world will speak Indian Art language

by Pankaja JK
  art critic & writer:- Art blogazine 2014
 

“Amrita Sher-Gil: The Passionate Quest” NGMA Mumbai

National Gallery of Modern Art, New Delhi, and the National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India are happy to inform that a special exhibition, ‘AmritaSher-Gil: The Passionate Quest’, developed by NGMA New Delhi on the occasion of the closing of the birth centenary celebrations of Amrita Sher-Gil (1913-1941) will be inaugurated and thrown open to the public at NGMA Mumbai on the 31st of May 2014. It is for the first time that almost the entire NGMA collection of around 95 works of Amrita Sher-Gil will be showcased at the exhibition, including many paintings that have rarely been displayed before.

Amrita Sher-Gil

The works Amrita Sher-Gill produced during her short but prolific life combined brilliant details from the scenes of everyday life in India, and created a timeless monumentality. In a tragically brief career, Sher-Gil did much to introduce her country to the idea of the free-spirited artist, and to show her people that art could interpret Indian life for Indians

She came to India in 1921, drew inspiration from the exquisite little miniatures of Kangra and frescoes of Ajanta. The figures she drew with expressions on their faces were her own invention. Amrita’s paintings were not mere reproductions of what she saw around her but visions born out of the coordination of colour, design and emotion. Visit to South India inspired her to produce the most remarkable works such as "The Bride’s Toilette", “The Brahmacharis" and "South Indian Villagers going to Market". The Brahmacharis, which was painted in , is a fine example of her understanding of the Hindu faith which is still prevalent in the traditionalist South India. She is remembered for her paintings done just over a period of seven years. But the passion with which she handled the brush and the genius with which she combined her training in the West and her view of the East, made her most popular. The sincerity of her subject and the uses of colours bring to Amrita’s paintings a quality of timelessness. Most of her paintings reflect her love for the country and more importantly her response to the life of its people. She was the youngest among the pioneers of contemporary movement and the most short lived.

The exhibition was inaugurated by Mrs Pheroza Godrej, Chairperson Advisory Committee, NGMA Mumbai in the august presence of Dr Gieve Patel, eminent poet and painter and Ms Yashodhara Dalmia, Curator of the exhibition on 31st May 2014 at 6.00 PM at the National Gallery of Modern Art, Mumbai.
Pheroza Godrej in her inaugural address said “The richness of Amrita Sher-Gil’s visual language and experiments with form and composition have been sensitively analysed by the curator, Yashodhara Dalmia, who has approached the oeuvre from four different perspectives described as Threshold, Icon and Iconolastic, Hungarian Manifestation and Indian Journey. Mrs Pheroza Godrej thanked the curator Yashodhara Dalmia for her perceptive approach to Amrita Sher-Gil’s art. She also expressed her thanks and gratitude to Ms. Manju Singh, Chairperson and members of

Group of Three Girls, Oil on canvas, January 1935

the NGMA New Delhi Advisory Committee for their support in bringing this exhibition to NGMA Mumbai. She also acknowledged the support of the members of the Advisory Committee NGMA Mumbai and the sincere efforts of the entire NGMA, Mumbai team for making this exhibition a great success.
This impressive and arresting collection of her paintings is supplemented by an illuminating display of text and images titled, Remembering Amrita Sher-Gil. This focuses on the artistic genius and mercurial personality of Amrita Sher-Gil, which have a bearing on her paintings. To further contextualise Amrita Sher-Gil’s modernism, an audio-visual highlighting the European art scene in the early 20th century, conceptualised by Ella Datta, is an attraction to this significant show.

Nude Oil on canvas, 1933

Prof Rajeev Lochan Director NGMA New Delhi, who spearheaded the birth centenary celebrations of Amrita Sher-Gil said, “The complexity of Amrita Sher-Gil’s personality and the brilliant versatility of her work invite varied reactions. Viewers remark on the sensuousness of her representations, her sensitivity, her melancholy faces and her intimate projections of a female identity. And indeed all these readings are inescapably true. I am confident that this exhibition will recontextualise Amrita Sher-Gil and her work in our present times

Marking the inauguration of the exhibition here at NGMA Mumbai Shivaprasad Khened Director NGMA Mumbai said “Bold, unconventional, hugely talented and very beautiful – the painter Amrita Sher-Gil is the stuff that legends are made of. Her paintings reveal her training in the Western schools of art, but at the same time, reflect colourfully her love for India and her response to the life of its people”.

Mapping Amrita Sher-Gil’s genius, Yashodhara Dalmia said, “her fervent journey resulted in a successful melding of Eastern and Western traditions. This paved the way for modernism in Indian art and influenced generations of artists. Sher-Gil's immense achievement is commemorated in this exhibition which also marks her birth centenary year. The works map the journey from the genesis of her art to its triumphant culmination in the last period. This consists of the essential conditions of her paintings which can be traced to the training at the Ecole des Beaux Arts in Paris, her return to India in 1934, the subsequent experiments in her work resulting from the exposure to Ajanta and Ellora and Indian miniatures as well as her last paintings which point towards another fruitful breakthrough. As Sher-Gil's attempts at modernity and loosening the shackles of academism became increasingly successful, she was to make iconic works which created a distinctive interweaving of Eastern and Western art.

“Amrita Sher-Gil flashed through the Indian artistic horizon like an incandescent meteor. Her place in the trajectory of Indian modern art is unquestionably pre eminent. Her aesthetic sensibility shows not surprisingly a blend of European and Indian elements. Her command over handling of oil medium and use of colour, as well as her vigorous brushwork and strong feeling for composition, all go towards giving a dazzling quality to her genius. Amrita Sher-Gil was already a legend as a young woman painter in the early thirties of the last century in the art world of India. This exhibition at NGMA Mumbai is accompanied by the release of a comprehensive catalogue with a lead essay by YashodharaDalmia.

The exhibition will be on view for public from 1.06.2014 to 30.06.2014 from 11 am – 6 PM, for a period of one month. (Except on Mondays and National holidays).

PRESS RELEASE
National Gallery of Modern Art
Sir Cowasji Jehangir Public Hall,
M G Road Mumbai 400032

copyright NGMA

ART TALK SHOW at Art Gate Gallery

Do come...26th June. ART TALK : Kajal Gaitonde at 4:00 to 5.00pm and Prashant Hirlekar at 5pm to 6pm Art Gate Gallery, Churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com

मेरा मानना है कि हमारे जीव होने को प्रामाणिकता प्रदान करने वाले एहसास आरम्भिक बिंदु से ही अवतरित होते हैं -अर्चना मिश्रा

मनुष्य जब जन्म लेता है तो उसका स्वरुप  निर्मल और स्वच्छ होता है परन्तु सभ्यता , शिक्षा, संस्कृति  और संस्कार के आवरण से हम उसे  ढकते चले जाते हैं या यूँ कहें कि अपने निर्मल मन का दमन कर बुद्धि का विकास करते  हैं। बुद्धि हमारे शरीर का एक ऐसा यंत्र है जो कि इन्द्रियों  द्वारा दी गई जानकारी से संचालित है।  यह सत्य है कि मात्र मनुष्य ही ऐसा प्राणी है जिसने अपनी बुद्धि का सर्वाधिक विकास किया तथा प्रकृति में अपनी नयी सत्ता कायम की परन्तु दुर्भाग्यवश अपनी ही वास्तविकता से दूर होता चला गया। 

( Archana Mishra Art Talk series at Art Gate Gallery 2014 )

मेरा मानना है कि  हमारे जीव होने को  प्रामाणिकता प्रदान   करने वाले एहसास आरम्भिक बिंदु से ही अवतरित होते हैं   कहने का तात्पर्य है कि आत्मा के साथ - साथ एहसास भी हमें  अपने शुद्ध रूप में प्राप्त होते हैं। जन्म से पहले और जन्म के बाद बच्चा जैसा महसूस करता है वैसे ही भावों को प्रकट करता है परन्तु जैसे - जैसे उसकी इन्द्रियाँ और बुद्धि परिपक्व होती हैं भावों का स्वाभाविक प्राकट्य नगण्य हो जाता है।  यह विडम्बना है कि अनजाने में ही हम अपने एहसास की तिलांजलि दे भावों का रूपांतरण कर देते हैं। भाव जो हमारे आंतरिक एहसास को प्रकट करते थे वो कब इन्द्रियों के वशीभूत हो गए हमें पता भी नहीं चलता।  अब वो बुद्धि और इन्द्रियों के अनुरूप प्रकट होते हैं। यही कारण है की इनकी स्थिरता स्थाई नहीं होती।  बाहरी आवरण से प्रकट हुए भाव आंतरिक एहसासों से अछूते होते हैं  उनका  अस्तित्व आधारहीन होता है और वो  जल्दी समाप्त हो जाता है। समाज में लिप्त और खुद से दूर जिंदगी आंतरिक और बाह्य जगत से उभरे भावों में अंतर कर पाने में अधिकांशतः असमर्थ और भ्रमित  रही है। यही भ्रम बुद्धि और मन पर आच्छादित हो सत्य को धूमिल कर रचनात्मक भावों की सत्ता को जन्म देता हैं और मनुष्य आजीवन अपनी आंतरिक सृष्टि को भूल बाह्य जगत को तुष्ट करने में सर्वस्व अर्पण करके भी अतृप्त रहता है। 

               

किशोरावस्था  से ही मेरे अंदर ये द्वंद चलता रहा कि भाव इतने आतुर क्यों होते हैं  ? न ही ये तृप्त होते हैं न ही शांत, बस उभरते हैं अपने अस्तित्व का प्रदर्शन कर लुप्त हो जाते हैं। यह पानी में उठने वाले बुलबुले जैसा है जो सतह पर अपने अनिश्चित अस्तित्व के प्रदर्शन से  हमें आकर्षित कर कुछ इस तरह विलीन हो जाते हैं जैसे कभी उभरे ही नहीं। यह आकर्षक है परन्तु सत्य नहीं , सत्य क्षणिक नहीं शाश्वत है। हमारा मन बहुत उपद्रवी  है।  अतृप्त और असंतोष मन में ठहराव नहीं है। ऐसे ही कई प्रश्नों को  खंगालने के बाद मुझे यह ज्ञात  हुआ कि एहसास प्रकृति के कण -कण में यथावत  व्याप्त हैं  परन्तु भावों का रूपांतरण होता चला गया। प्रारम्भ में मैंने अपने प्रश्नों के उत्तर प्रकृति में तलाशे क्योंकि मुझे ज्ञात था कि प्रकृति में निहित एहसासों के प्राकट्य   भाव भी शुद्ध हैं। उन्हें देख कर हम समझ सकते हैं की हमारे भाव कितने स्वाभाविक हैं और कितने अस्वाभाविक।  यही कारण है कि मेरे प्रारंभिक कलाकृतियों में  प्रकृति की भिन्न - भिन्न छटाओं को आसानी से देखा जा सकता है परन्तु समय के साथ प्रश्नों का गूढ़ होना स्वाभाविक है।  यह भी एक अद्भुत बात है कि प्रश्न जितने गूढ़ होते  हैं उनके उत्तर उतने ही सरल। हमारे अंदर से उपजे प्रश्नों के उत्तर भी हमारे अंदर ही है। स्वयं को जानना संसार को जानने से ज्यादा कठिन है।  

सालों पहले उपजे प्रश्नों के उत्तर आज मेरे सामने हैं परन्तु इन्हें यथावत स्वीकार करना संभव नहीं। इन्हें स्वीकारने का अर्थ है अपने अस्तित्व की तिलांजलि दे पुनः जन्म लेना। यही कारण है कि पिछले कुछ  सालों से मैं इन जवाबों के मूल को तलाश रही थी।  एहसासों और भावों के मूल को समझें तो , एहसास आत्मा है और भाव रूप  है अर्थात हम जो अनुभव करते हैं उसका  इन्द्रियों द्वारा प्राकट्य भाव है।मेरा मानना है भाव दो प्रकार के होते हैं बाह्य  भाव और आतंरिक भाव।

( Archana Mishra Art Talk series at Art Gate Gallery 2014 )

 बाह्य भाव जो  सभ्यता , शिक्षा, संस्कृति  और संस्कार की लक्ष्मण रेखा के अंदर बुद्धि और मन के रचे भ्रम का प्राकट्य है, यहाँ एहसास का कोई अस्तित्व नहीं।यह परिस्थितियों के दबाव से प्रकट होते हैं । बाह्य भाव

अशांत , सतही ,उत्तेजित और अल्प अवधि के लिए होते हैं। बाह्य भाव भ्रम है। 

आंतरिक भावों में केवल एहसास और मन ही कार्यरत होते हैं बाकि सब नगण्य है, बुद्धि का यहाँ कोई काम नहीं। यह मन की स्वच्छ्न्दता से प्रकट होते हैं। आंतरिक भाव शाँत, गहरे, हठी और दीर्घकालीन होते हैं। आंतरिक भाव सत्य है।  

हम अधिकतर  बाह्य भाव में  ही जीते हैं और धीरे - धीरे यही सत्य हो जाता है , आंतरिक भावों की गहराई में डूबने से डरते हैं और बाह्य भाव की सतह मजबूत करते चले जाते हैं। मेरी नई कृतियों में इन जवाबों के सार को आप स्पष्ट महसूस कर सकेंगे।  निराकार विषय होने के कारण मेरी कृतियाँ भी अमूर्त हैं, जैसा कि हम जानते हैं दुनिया में सबसे छोटे कणों को क़्वार्क्स कहते हैं और हर कण की अपनी मूल संरचना होती है ऐसे ही अनगिनत कणों के संयोजन से ठोस आकर बनता है। मेरा मानना है कि एहसासों की संरचना भी कुछ इसी तरह की है , हर एक  एहसास भिन्न -भिन्न अदृश्य अनगिनत सूक्ष्म  कणों की संरचना है यही कारण है कि मेरी कलाकृतियों में अलग -अलग रूपाकारों  का संयोजन  दिखता है तथा इसमें प्रदर्शित  रूपाकारों के संयोजन प्राकृतिक और वैज्ञानिक जगत से प्राप्त कणों से पूर्णतः प्रभावित हैं। कलाकृतियों में इस अदृश्य सूक्ष्म जगत की  कोमलता  और सत्यता को प्रदर्शित करना मुझे आनंदित करता है।  

18th June SAVE DATE: ART TALK : Archana Mishra at 4:30pm and Prakash Waghmare at 6pm Art Gate Gallery, Churchgate Mumbai

Green Palette Group show

18th June SAVE DATE: ART TALK : Archana Mishra at 4:30pm and Prakash Waghmare at 6pm Art gate gallery, churchgate Mumbai