‘Chitradarshani’ – Exhibition of paintings organized by 3H Art Society.

TRIBUTE to MASTER Prafulla Dahanukar  and M F Hussain 

Opening show at 6pm 15th Nov 2014 Art Gate Gallery 

ARTIST 3H, a brain child of Dhiraj Hadole, is a multipurpose Art Society aimed at nurturing the Art heritage of India and increase Art awareness among the people. The name itself shows the great admiration for three prominent features of all the artists who knowingly or unknowingly create masterpieces- 3H are Heart, Head and Hand! Dhiraj Hadole thinks that Art is as expression for purpose and every artist does it in his own style which stimulates the thought process of the viewer; therefore it would not be right to discriminate between famed and novice. He gives equal platform and exposure to both and highly respected and budding masters of Art who are instrumental in making Art an inseparable part of the Society.

The present show by 3H is called ‘Chitradarshan’, one of its kind displaying and showcasing masterpieces by various Indian artists. It also pays tribute to M.F.Hussain and his serigraphs and prints are displayed in the exhibition. The show also includes rare art works of Prafulla Dahanukar, K.K.Hebbar and Badri Narayan.   

The unique feature of this exhibition is that it does not have a particular theme running through the art works by various artists involved in it, instead there is a magnanimous effort made by Dhiraj, the organizer to bring various themes under one roof. It features over 20 artists and their art. It includes abstract, figurative, realistic and landscape themes on canvas and mix media. Some of the masterpieces are displayed for the first time in India.

Recent work Pankaj Khalode 

Artists like Pankaj Khalode and Laxman Ahire have very well shouldered their responsibility to bring out the pros and cons of the Indian traditional society and create social awareness. Nurturing tradition and following the culture is a pride of India, admired by the whole world. But one realizes that it has a cruel side which is evidently ignored by our society. Among many other issues on of the most grave and ancient issue is of ‘prostitution’ which is the subject of study of artist Pankaj Khalode. He calls it ‘Desire and Disgust’. It is the social institution throughout the recorded history. It is unanimously accepted and developed by the society, to fulfill the immorality, lust of men. Women are ruthlessly used for men’s sexual satisfaction and reduced to being ‘mindless and heartless thing’ She is just ‘a worker’, a sex worker that all. Artist finds the root cause of this dehumanization in domestic set-up; usually a male dominated institute, where women are suppressed from speaking against infidelity and womanizing. So it is a grave question - Is the respected institution of marriage and family a malice or the outcome of failure or dissatisfied marital relation that gives rise to prostitution, is a malice? The artist also explores the issue of homosexuality that is considered as a tragedy in a gender conscious society. Again, it is not a new trend but hidden and deeply rooted in society. Pankaj discloses the bitter truth of suppressed human feelings, so as to extend sympathy and develop awareness of being fair and just towards these dumb, harasses souls.

Laxman Ahire feels the complicated social structure does not only affect the ill-considered men and women, but it has always been cruel to women in general. The progress has not total taken charge of chauvinism in Indian male. We still find animal-instinct in most of them. He brings into lime light the torture of sexual discrimination in the form of Sati, female infanticide, child-marriage, dowry deaths, sexual molestation and rape. Through his art he intends to create an awareness to stop all these bad practices, respect woman in every form, as a mother, sister, daughter and wife. She is not a thing to be played with. She is a Human being. Violence against woman should be stopped only then our society will be truly progressed. A progressive attitude is but a true sign of progressed society.   

Insight into the core of existence is the topic of two artists, Manoj Parturkar and Anuja Parturkar. Manoj gets his inspiration exclusively from the Nature. He compares nature to Mother and feels all the evolutions in nature is motherly phenomenon where from life begins, the potential energy in the womb, blooms out to being active and ready to explore the Universe. At all the steps this energy is supported and guided just like the mother in animate state who is protective about the child. The relations between existing things develop automatically as the interdependence is the need of natural elements just as it is the need of the human living in the society. Nature does not waver from its role of being energy provider and has strong hold on every thing that evolved from it.

Anuja Parturkar works on abstract, because for her, it is an emotional and spiritually rich expression. As we can see it in her paintings there is an unfathomable depth. The more you delve into interpreting it into totality, the more it expands its horizon of expression. The paintings touch and stimulate your heart and head (mind) just as the horizon which gives an illusion of touching the sea waters. So close yet, so far. The mysterious and indefinable relation that abstracts create is absolutely unconditional and completely an inner sight.

Abstracts are mysterious, but reality also holds many subtle outcomes. Narendra Tatkare’s paintings are realistic expressions and pictorial investigations of the truth of metro life which is full of inanimate objects like sprawling concrete comfort zones, symbols, signs, artificial ambience to make feel- good, crowd yet isolation of every individual. Narendra’s artwork is an effort of creating an iconography for a city metro growing in the womb of urbanization.

Recent work Swami Sitaram

Swami Sitaram who hails from the city of beautiful landscapes, Odisha, looks at the beauty from a realistic point of view. For him landscapes are not just a natural set-up, but acquire importance and meaning only due to the external influences of politics, economics and social conduct. All these in turn influence the architecture of the place. So architecture becomes the focal point in his paintings. According to him architecture is visually challenging and recites the social and political background. He presents his own home town Odisha and tells that he closely associates himself with the architectural materials like stones, bricks, cement et al. The visual abstractions in the arrangement and overlapping layers of imageries are the interpretations of human beliefs and myths into the particular space. We find the conceived or unperceived influences that make an impact on people and his paintings represent this juxtaposition.

Shil Ramteke expresses his emotions, thoughts and daily life experiences. Basically human actions are dependent on conscious and subconscious thoughts. The conflict is never ending. One tries to find a balancing act for better living. His paintings represent these conflicts in form of lines, colors and forms. One of his acrylic on paper creations projects his mind taking an elephantine leap. There are many inhibitions and hurdles that controls ones emotional and physical outburst and these remain locked in sub conscious mind. The painting thus opens up one of such thoughts in form of elephant. The blue color may be the projection of gratified and composed and unruffled personality; a superficial appearance. But the leaping mind is the real self and every individual’s dream and aspiration. Thus Shil Ramteke brings out the perplexity, especially as requiring a choice between desired and obligatory.

Visuals of human and animal skin patterns are prominent in work of Prakash Gaikwad. For this exhibition, he presents the condition of Vitiligo affecting human skin. Vitiligo is a condition that causes depigmentation of parts of the skin. It occurs when skin pigment cells die or are unable to function. Vitiligo is neither infectious nor contagious but still in India, society discriminates people suffering from these disorders. He points out to negative and biased attitude of Indians to discriminate people by their looks and appearance without knowing the reality and facts.

Recent work at Art Gate Gallery : 15th Nov 6PM Opening 

Swapnil Godase has specialized in Metal Craft. Having achieved excellence with Canvas, Copper, Brass, Metal Scraps and Fiberglass, he experiments frequently with new media. His core profile revolves around developing techniques of reposes and shaping sheet metals like Copper, Brass and Steel. The artist is currently developing Experimental Art concepts depicting inspirations from daily life. For this exhibition he has crafted metal hand bag, a compulsory accessory of every working class common man. Bag is the proof of modernization and progress.

Recent work Prashant Anasane 

Prashant Anasane highlights the fact that human progress was and is possible only due evolution and development of Things. And these material things were designed according to needs of people and based on same working theory as that of living being’s body. There is a similarity of structural theory in animate and inanimate things. Things too, civilized with times; they were further modified to make human life comfortable. Therefore, advanced things add to progressive and developed human lifestyle. Prashant highlights this interdependence in his paintings.

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The only artist without a particular theme who attracts attention of the viewer only with his Medium of Expression is Dhiraj Hadole. He handles various subjects in his creations. His medium and techniques plays an important role in highlighting his thought. Like, in this exhibition he has used punch mark for creative expression. The creation does not specify a particular symbol but one can relate to it in sublime. The vibrancy of creation attracts the attention. The artist purely aims to enjoy his creation and looks for new avenues to explore and express.

Recent work Rohan Pawor 

Rohan Pawar makes us nostalgic with his installation of bicycle molded in brass, with its reflection under the heading ‘Reflecting Childhood’. It is blissful to go back into memories of innocence and spontaneity of energy which is completely opposite to matured attitude that involves crafted actions and circumstantially induced energy. 

15th to 21nd Nov :  opening 6PM 15th Nov at 12 pm to 7pm Art Gate Gallery, Churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com 

(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency  and online social media, please share )

‘Energy in Void’ ‘Something’ implied in ‘Nothing’

 

Shalaka draws inspiration from the Indian metaphysical concept of ‘Shunya’ which is based on the paradox of maximum potential contained with an irreducible minimum that is Emptiness. Thus her creations are but attractive, distinct visuals. Paintings also incorporate scientific theory of Quantum energy of Universe. Quantum energy is an Energy which burst to form into innumerable galaxies, constellations and other components of Universe.

Shalaka Patil

‘Energy in Void’, completely mystifies us by imbibing the concept of the evolution of Universe, its progress and expansion and ultimately the dissolution in itself without disturbing the movement of harmonious whole of the elements of the Universe.

Painting series by Shalaka Patil.

The paintings have various forms on the single plain or textured surface of paper; the forms on paper seem to be evolving non-stop, having life and movement. As we keep mulling over them, they also seem to dissolve. But at the very moment the similar one seems to replace the prior one. This evolution and dissolution represents the cyclical concept of creation, preservation and destruction/dissolution.  Every component of painting- form or colour is unique metaphoric representation of space merging into a related whole. Thus the physical appearance is a Visible Reality but Actuality of an entity is beyond physical or visible reality as put forward by Quantum theory for creation of Universe.  

To speak about it in regards to her paintings, we find that the form and colour refer to Nothing other than itself, but still it has some value in totality that emerge in unison on the Nothingness (here paper canvas becomes a total void or quantum energy  with its plain surface, on which painting is done). This art of the artists can be best described with the help of illustration by Lao Tzu. While explaining the importance of Nothingness or void he said, ‘‘We shape clay into a pot but it is the emptiness inside which holds what we want”. So even though the paper dissolves its identity with emergence of colors and elements on it, still its emptiness plays a major role in shaping the externally visible objective reality.   

Painting series by Shalaka Patil.

Thus, the plain spotless paper forms the base of her creation. It becomes the releasing point of energy to give meaning to various colors and forms on it. And if we associate this interplay with concept of ‘Shunya’, we find that existence of forms and colors get their meaning only due to empty space or Nothingness of paper which is nothing but only a plain textured surface. This surface itself has the potential energy to absorb the colors that are brushed on it. So it is ‘Something’ that appears on ‘Nothing’. Hence, that what is perceived, has negligible scope compared to the unperceived or the emptiness that actually becomes meaningful and important. Thus, there are limitations to what is perceived. When meditated upon this reality with no center or edge gives rise to infinite possibilities. We realize that forms and space are interchangeable according to perception.  

We are interconnected to everything in Nature through the medium of this ‘empty’ space. Our soul and mind are the Emptiness filled with innumerable thoughts (physical elements) that are negative as well as positive. As we mature the thoughts are replaced by new, some are expanded others perish to give place to new ones. All in turn influencing the lifestyle that we follow based upon these elements. Thus evolution, expansion and dissolution become part of human activity, just like Universe. Mind and Soul become the providers of potential energies.

The approach of successive layering and removal of pigment permits the surface to achieve transparency, translucency and opacity. The forms are held together, within mutual associations of attraction and repulsion, of contraction and expansion, thus there is continuous flow of energy involving a person to contemplate like cosmological inflation. All the components of paintings be it paper, water-colors or ink, space consist of positive energy which rests upon one another to create a complete whole. 

It is a blissful experience to view her paintings as it takes us on trail in Universe and also lets us probe into self and find the centre point from where we as individual rise and gain our identity or characteristic, that changes with time and maturity. 

 - by Pankaja JK

The National Gallery of Modern Art (NGMA), Mumbai, Ministry of Culture, Government of India

National Gallery of Modern Art, Mumbai

Ministry of Culture, Govt. of India

Sir C. J. Public Hall

Mumbai- 400 032

The National Gallery of Modern Art (NGMA), Mumbai, Ministry of Culture, Government of India, is presenting an exhibition entitled ‘Music and Goddess’. The exhibition is directed by Ranjit Makkuni founder of Sacred World which explores to build bridges between techno and traditional cultures.

Ranjit Makkuni is an international multimedia researcher, artist and designer.  A graduate in architecture from the reputed IIT Kharagpur, Ranjit Makkuni perceived his masters in Design Theory and Methods from University of California. With involvements in many prestigious institutions Ranjit Makkuni is also member of the mentoring group of Nehru Memorial Museum, New Delhi, constituted by the Prime Minister of India.

‘Music and Goddess’-The Exhibition at NGMA (M)

The genesis of art dates back to the early age of humanity. Here we see Makkuni bringing in the rich panorama of artistic forms and designs- from ancient to modern. Going beyond the boundaries of physical landscapes, he brings in multidisciplinary art forms and designs with cords of music and spreads a labyrinth beyond imagination. With this one of its kind exhibition Makkuni communicates a vision for the re-discovery of solitude. Art and Music was never so beautifully brought together.

This exhibition presents advances in interactive art through an exploration of the science, art and spirituality of Music, and its reflections in the Goddess images across Asian cultures. Ranjit Makkuni makes the exhibition a spiritually musical and gracefully interactive. It simply makes a lay person spellbound. It is an audio visual treat for the art and music lovers. The exhibits not only play music but allow viewers to interact with the instrument that plays it and the creative installation that bares it. Majority of the instruments show a connection with the Goddess Sarasvati and hence create a mesmerising spiritual ambiance. The journey to the musical world spreads over the holy pagodas and Bodhisattva paintings. The mystic aura of rhythm leaves the listener engulfed in streams of South East Asian Buddhist monasteries. The exhibition brings sound of music from each and every member of the Mother Nature like birds, bees, water, woods, human body and air.

Through a collection of interactive exhibits employing new musical synthesis based on traditional grammar, interactive multimedia installations and recordings of performances by masters, the project will allow viewers to enter the world of sound and its cultural and spiritual aesthetics.

The display of the exhibition presents both traditional and new instruments based on Indian Sitar, Burmese Saun Harp, Thai Xylophone, Korean Kayagum, Chinese Guzheng and Pipa, Vietnamese Dan Tranh, Javanese & Balinese Gamelan, chanting and many more. New instruments with embedded computation demonstrate interactions through gesture, touch, pull, movement, gaze and kinaesthetic action. In addition, through responsive computing, people by their position, gesture and movements control musical events in exhibition environment.

At National Gallery of Modern Art (M) we have an interesting exhibition inaugurated 28th of this month. And here are the attached details for the same (Press release and images).

Do visit the Gallery as it has much more to touch, see and listen. 

Gallery open from 11 am- 6 pm except Mondays and National Holidays

I Think (What?) ‘Packing Series’ paintings by Amit Kumar.

Art is a part of individual, community, society and whole world. It is necessary to know why it has so much importance since civilization began. Not many artists have tried to answer it through their art. Generally, an artist creates a piece of art according to the prevailing conditions, like his individual psychology, society’s culture and tradition, political conditions etc and that is all. 

Amit Kumar explores the avenue of highlighting the importance of art and its preservation and how it is preserved (visual art) by hand-painting it under his theme titled ‘Packing Series’ 

Artist Amit Kumar

Art plays a significant role in knowing the past of a country. Especially visual Art portrays the social, economic and political conditions of every era. It is a trusted clue of past. Artist Amit Kumar likes to hold on to these visual treasures and thus portrays them in his paintings.  According to him the works of past in every form of art like painting or literature has its unique symbolism and color. He likes to conserve these things and has come up with his ‘Packing series’ which is his most favorite series. All the paintings in this series are hand painted and as the name suggest- ‘packing’ he shows preservation of these paintings by meticulously painting bubble paper, corrugated paper wrappings around them. It is, as if he wants to keep the traces of history safely packed and saved for future generation. Since his basic objective is to show the preservation of paintings, he has painted varied themes not pertaining from different eras these do not belong to any particular age and there is no uniformity either. Like, he paints modern city, along with Statue of liberty, touches upon Indian Independence era by painting Mahatma Gandhi, presents unforgettable photograph of an Afghan girl, by painting it and showing it wrapped in buble paper et al. Therefore we find the mixture of different forms of visual art ranging from realistic, surreal to abstract. All the artworks help us to rewind the time and feel the difference between the then life’s experience which was different from our times. .According the artist, his art may have minimal value in this technical world his paintings. But it does not bother him and feels that as an artists he has every right to express his feelings without restrictions, no obligation of commitment and totally independent in Nature. Anything that attracted his attention has become his creation in this series. 

Recent work by Amit Kumar

The second series shows Amit Kumar’s keen interest in human psychology, especially of the layman or common man that forms the larger part of the society. The common man actually colors and shapes the characteristic of society. There is a standardized thread of thought among all the common people all over the world. It is ‘Ambition’, the desire to get more better than what one already has. He paints desires of mankind under his series called ‘Ambitious Mankind’. In this series he shows desires of common man. Desire of luxury, comfort, happiness, fame, money keeps life going on. These never ending desires are like the creepers as shown in one of his paintings. New leaves (hopes) represent tender desires unfolding, maturing, sustaining life until they are fulfilled or failed and then they shed away. Till then a new desire seems to bud from the same mind/heart (creeper). Even incase of choice of relations, human beings are often selective and yet, grass seems to be greener on other side and a person always feels dissatisfied with whatever he/she has and wants more and that is nothing but-  A desire. 

An avid lover of poetry and a poet by heart, Amit Kumar expresses his thoughts on desires in verse (Hindi) which states:

क़दमों में अपने जहाँ चाहता हुँ,

मै ज्यादा कही कुछ कहाँ चाहता हूँ l l 

सिकंदर भी हारा था हिंडोसितां में,

मै हारुँ नही, ये दुआ चाहता हूँl  

मै ज्यादा कहीं कुछ कहाँ चाहता हूँ?

मुझको बदनाम करने की साजिश है ये,

जो है मुमकिन नहीं, वो मकाँ  चाहता हुँl 

मै ज्यादा कहीं कुछ कहाँ चाहता हूँ?

(Translation): 

I wish to have world at my feet,

I do not expect more than this.

Alexendar too lost to India,

Pray I would never do.

Is it a great deal that I wish to?

It’s a cabal to slander me,

Explore the unexplored destiny.

Is it a great deal that I wish to?

Amit Kumar treats every painting as a poem and feels that every painter’s painting is but a poem expressed in visual form, full of emotions. He accepts the criticism that follows his analysis of calling painting as a poem. But he accepts the criticism and respects critics’ views. He feels criticism is necessary to probe into one’s own art and re-evaluate the creations. He is much concerned with the surprises that he gives to viewers through his paintings. 

Recent work by Amit Kumar

Viewers reaction is most important as the feelings in the paintings are spontaneous and succeed in tapping and resonating people’s emotions and make a place in their heart. People feel that his work is a collage of emotion and try to relate themselves with it. But according to Amit Kumar this is pure misunderstanding of his creations and viewers are surprised to know that it’s not collage at all. This ‘surprise’ itself stimulates Amit Kumar to create more suprisal works. Viewer’s surprise is a compliment for him and he considers that surprise of viewer is his success. 

I think, it will be apt to call artist Amit Kumar ‘A treasure hunter’ with lot of surprises in his creative mind. 

- by Pankaja JK

"Nine Blinking" Cobalt Blu Art Project

3rd Project coming soon

2nd Project "Nine Blinking"  Cobalt Blu Art Project

CORPOREAL CLAIRVOYANT AROUSAL - By Javed Jalil

The unmediated act of corporeal and cerebral inference of particles, starting from the subatomic to the synergies of the structural, moving into the realm of environmental visual references, creates reflection and illusions, modelled on our individual perceptive modes and prior understanding of things. The act of image visibility is an association of stages that incorporates our emotion, placement and reverberates with individual perceptions of recognition. It is formulated through expressive tendencies of weighing and evaluating its exterior content with ones’ own absorption and sentiment.

Javed Jalil as Art Critic

The visual world we perceive in our physicality creates various random interactive sources of content that is realized within us through the ways we have cultivated our patterns of consciousness. We can choose to be obsessed by certain elements from our existence and amplify the object, which can be in its animated or static nature, and we can project simultaneous vibrations, like a wave length of sensations and integrated dilemmas, to amplify the content.

Farzana Urmi is a painterly and searching artist who tends to involve herself into process of chaos emancipation, as a trigger point of stimuli, deflecting into a stormy vibration of moment, speed, instinct and paradox. It is as if she indulges the process of every particle being destroyed to unify into another functional state. It is like a big bang of neurons, as pigments accelerate through multiple energy sources, commuted with renderings of gesture and randomization. She appears like a passionate inferno, fusing existent external reality of the visible and invisible. Her senses are merged with environmental presence and redemption of restless moments. She focuses on scriptures of hard-core veracity of the emotionally heightened existence of our surroundings, with contents of deliverance and struggle. But why this relationship? Is it her existence within the surfaces of her living area or her inner commodity relating to certain attractions that behold her subconscious empathy - belonging to a string in a human chain?

Recent work by Farzana Ahmed Urmi

Recent work by Farzana Ahmed Urmi

The face and the portrait is her substantive motif of salvation, exploration and longing. It is the thesaurus of the manifestation of her energy. The face and its expression have been a matrix of surface recognition and introspection. But then again, it is also a landscape with layered dimensions of explicit subtle details of storytelling. Urmi in her paintings of faces, explored geo-surfaces of sensations that brutally and impulsively scrutinize the moment of interaction with picture-making surfaces, rather than having any likeness to its own identity. She creates her presence into what has been seen and remained unseen, thinking and analyzing and trying to grasp the effect that pulls her in, within the painted space of her faces. It is said that a face has 44 muscles and 7,000 micro-expressions that autonomously expose ones’ emotions. And there are seven major expressions that are universal. That means regardless of the structure and geo-placement, the major responsive moods of faces are similar. So, for an artist, all this micro-fraction of twist and turn are details of unlimited augmentation and sensation build-ups, like the construction of a surface or structure, resembling nature in its fleshy microscopic patterns that has spontaneous reflexes. Or states of absorption where surfaces, line and pigments refract an atmospheric stimulation.

The face is a reference of cognition with signs of inbuilt expressive manifesto and all these are directions through which visual artists incorporate their own metaphors and renderings, from hyper-realism to the zero recognition of the elemental and the material. Slices of various depictions and mannerisms configure the multi-stylization and temperament of time and place. For Urmi, the face has been a weight-bearing capacitor of her glancing animated tendencies, with a static and stiff disposition of the structural, where expressions are absorbed with the exterior play of strokes and pigmented arousals. The scattered micro-elements of landscaped bits of the faces are marks of ephemeral graphic metaphors of the individual and forces of moment and activity, overburdened with tenuous stresses of life and society. 

Her impulsive momentary dissections of signs and objects of intimacy, or the tendency to pour her momentary delusions and energy transmutations, are recognisable in her paintings.  It is almost an obsessive narcotic inducement of paint and surface, beholding the raptures of kinetic motional pouring. She feels lost in the race of interactive sensations of her surroundings and her being, so as to perform a voodoo-like dance of pigments dissecting each other, crashing and breaking edges, into life-like responses. She is definitely an expressionist but she has contemplated her act into a personal thirst of involvement with spirit and association.

In her recent works at the Dhaka Art Center she had also put out academic compositional studies, with ghostly glow of renderings, where the trend of making things aesthetically pleasing doesn’t concern her, rather the process of a very personal interaction of the moment stimulates her. She creates airy sitting figures with atmospheric delusions of colour as fragments of a light force, where forms are a vibration of light. She used patches of assimilated materials to unify and exaggerate the dimensionality of surface and emotional content .One of the noticeable factors are she, with her explosive pigment gestation, feels her way into the surface, keeping the anatomic stillness, and make overs the surface like a cosmetic makeup of sensation and atomic changes.

The painterly spectacle of her painterly attitude is attuned with the reality of the real as realized, and to comprehend it she exposes her identity with modulation of a corpulent tide of pigments and uncertainty, decoding the hesitation into a union of gestated ecstasy. The faces she paints may tend to be suffering insights of ones’ inner lingering thought but then again it could just be the ratification of our imagination where the strangeness is acceptable as, not beautiful but painful, but beauty can be realized by attaining the strangeness with perseverance, as acceptability reforms beauty in a new accordance. Strangeness is just a non-recognized validity of things, which slowly delves into the known and becomes commutable and comfortable within our psyche.  Urmi appears straight to the point in creating a source of interplay, rather than redecorate the visuals to become a recognizable likability. Her still lives and other objective elements are also driven manifested moments of engagement and the process of witnessing herself through it. The animated and the spirit overlap within her being. The demesnes to the visibility of the incorporated states of psychic prognosis are consents of the primordial instincts rather than sleek mind, body and psychic awareness. The psychological visibility is also our memory contained in imaginary nuances that tinge our psychic expressions with significant creative understandings, to validate a mystery. Our body, and infinite particles that binds together in a spinning space of motion and the decomposition of it, into a state of activity, can speak an animated language which is like entering a trance, that leads to illusion or a vibration of musical strings playing numerous resonances but in the same tune. Various perspective of our inner dimension makes us realize the re-echoed rhymes of the emotive. The curators of this exhibition focused on the markings of bio- landscape, the random impulses of abstraction, the grotesque approach opposing the aesthetically pleasing and the scheming process, and the artist’s momentary findings of the inhibited endowment of life.                                                                                                                                                               

Urmi intertwined her physical impulses into the medium, and used the recognizable, traversing the particles of the refractive into copulated state of another visual existence, as historically, with in the doctrines of art, this is considered the psychic connotation of the seen, thriving to see and create the unknown.   

- By Javed Jalil

D h a k a  A r t  C e n t e r  p r e s e n t s

Known Unknown

An art exhibition by Farzana Ahmed Urmi

On 16 October, 2014 at 6.30 pm

Eminent artist Monirul Islam

will inaugurate the exhibition and

Critic Moinuddin khaledwill grace the occasion as special guest

You and your friends are cordially invitedCurated by Wakilur Rahman and Kehkasha Sabah

Poster Out : Our body, the mirror of the soul and our body speaks its own language- Farzana Ahmed Urmi

‘Time After Time’- Photography exhibition by Juhi Kulkarni.

The motivating factors of these creations are emotions and contortions of psyche. Most of the visuals capture solitude, longing, fear and serenity experienced by every individual.  It is a quest to explore and highlight unfathomable side of human nature.

Artist : Juhi Kulkarni

Delving into personal experiences of every person the artist capture their apprehensions, bliss and inner solace; these though are primarily on surmise. The meditative pose and feelings in some of them are the ultimate willingness of the individual to find internal peace in this world of chaos. In this series Juhi Kulkarni has ventured to explore women psychology. There is a common thread of feelings flowing though the images and viewers. We find a strong affection for life and viewer is at liberty to associate individual feeling to every image.

The reality is presented in esthetic manner and the expressions have emotional tableaux. The photography works as a facilitator to get people’s feelings, hopes and dreams across, therefore each image exceeds more than being a picture of someone consciously posing for camera.      

As stated by the artist herself, she draws inspiration from Purana and Ancient Indian Vedic culture, so the symbolism in her photography clearly depicts metaphysical aura.

E- Card

The unique feature of this series is the dual exposure of every photograph. The artist has perfectly developed her photographs as paintings. It shows that the photography is not just about shutterbugs and clicks but a reflection on pure self. Juhi Kulkarni is successful in doing so as she has given her photographs a touch of painting. Many images are actually the photographs of paintings. The lines and curves tangled in each other with an emotional face in foreground makes emotion unambiguous and true to its feelings.

The artist’s passionate photography is also seeded in the humanitarian steps that she carries out in her everyday life. Working as a volunteer in Art of Living course has made her probe within herself and added to her skill of capturing the real self of the people. Her charitable act of donating the proceedings from the sale to NGO ‘Gift a Smile’ again reflects her humanitarian and philanthropic character in her photography.

Interview with Juhi Kulkarni

P JK ( Pankaja JK)    JK ( Juhi Kulkarni)

The following interview highlights Photography artist Juhi Kulkarni’s positive attributes and professional inclinations that add life to her Still photography in her solo show ‘Time After Time’ to be held at Jehangir Art Gallery, Mumbai.

P. JK: Tell us about yourself.

J.K: I am a visual artist and I have been making art since I was 2 years old (that’s what my mother tells me!). I draw, make paintings and also take photographs and make installations. I have studied BA (Hons.) in Drawing from Camberwell College, London. Previously I had shown my works in London and Nagpur and “Time after Time” is my first solo show in Jehangir Art Gallery, Mumbai. I also work with an NGO that teaches people to live stress free and works with educating less privileged children.

P.JK: Which factors/elements play an important role in your photo shoot?

J.K: I draw inspiration and experience from everyday life.  My work is reflected by my own spiritual experiences and is translations of my observations from meditations as well as readings of Puranas and Vedic scriptures. My creation evolves from drawing and takes form of photos, paintings or installations. Experience is never unmediated and it is always influenced by what precedes and follows it, by memory and expectation, modes of sensory organization, culturally conditioned habits of mind and countless other factors that are both historically and socially produced. Experience in other words is multiple of meditation and infinitely variable. To experience something you have to be totally engaged into it. I believe in engaging the viewer into my works and giving them the space and time in imagination to make it their own.

P.JK: Why are you fascinated by old technology of photography?

J.K: It is the nostalgia of working with the analogue camera and it also carries a sense of fragility and anxiety. It is quite exciting actually and the result is unknown and not immediate like the digital ones. In a strange way, the sense of control is more in certain areas and less in the other. As the image emerges on the paper it is quite magical and reminds me of the child like experiences we have of awe and wonder and magic.

P.JK: Do you use computer graphics to modify your images?

J.K: I avoid doing that, but sometimes to salvage the image I have to do it. Also when a particular project requires, I use my digital camera and computer graphics to work on them.

P.JK: Why do you make it look like painting?

J.K: I am fascinated by the act of painting and the entire process of creating the image in this manner, and so some of my photographs have the painterly effect. Sometimes I photograph my paintings and use them for double exposures.

P.JK: Which is the most coveted emotion that you like to capture?

J.K: I would like to capture bliss but it seems a farfetched idea, so I work towards capturing movement, stillness and a sense of tipping point. Emotions are difficult to explain, especially when they arise after deep spiritual experiences of meditations, I have worked towards depicting them with a little reference from the Puranas and other Vedic scriptures.

P.JK: Like every photographer do you also intend to explore motion?

J.K: I have explored it in the past and its quite exciting and endearing process. But as it requires specialized skills and an efficient team I have postponed the plans of making short films for near future. As of now I want to show movement in photography, i.e. movement via stillness.

P.JK: What is the difference between black and white image and colorful one?

J.K: Both have their unique qualities and I feel it’s unfair to compare them.

P.JK: What do you do for your professional growth and perfection in photography?

J.K: Photography has such a large range of techniques and tools, that to master all is very difficult. I make a point to learn new techniques, polish old techniques and practice what I know everyday. I dedicate a specific period of time everyday to develop my work and am very focused and disciplined about it. As of now I am working with a medium range camera and would like to buy a better one as soon as possible to get sharper images and more clarity. I also work with old analog cameras like Pentex K1000 and the images from this require an entire different way of processing. By observing other photographers’ works and studying their techniques and ways of working I develop my own ideas and it is a part of my routine. Some of my favorite photographers are Raghu Rai, Andrede Freitas, Christoffer Relander and Sara Bryne. For me my concepts are also very important, they always carry either a social cause or a personal spiritual aspect, which I work very hard to really understand experience and translate it into my work. I believe that perfecting the being brings perfection in every other aspect of my life.

P.JK: You are also associated with teaching field, how do you relate photography to it, besides just giving charity from the sale of photographs?

J.K: Photograph is a very powerful tool of expression and it brings attention and awareness towards whatever is photographed. A good photo can give the viewer a moving experience and hence bring attention to the cause in hand. I try to provide visuals as means of education to imbibe deeper impact on mind. Try to impart knowledge to under privileged children with perseverance and dedication.      

 - By Pankaja JK

Enjoy and rejuvenate your soul by attending this show to be held on 14^th October till 20^th October at Jehangir Art Gallery, Mumbai. 

More details contact: juhi.kulkarni@gmail.com 

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