I am a firm believer in letting my work speak for itself,” Durga Kainthola

Artist Durga Kainthola may very well be India’s answer to Andy Warhol , exhibited her paintings in a Solo exhibition at gallery 7 in 2005 “The Art Factory 2" ,tribute to the great American pop artist Andy Warhol. The modern  artist’s first International Solo Exhibition in the year 2004 at Holland Art Gallery, Amsterdam" Art Factory-I ". The organisers of the exhibition were overawed by the universal appeal of Kainthola’s miniatures in gouache on hand-made paper and bought all the fifty works she exhibited .The gallery made 200 silkscreen of one of her work . On her admiration for Warhol, Kainthola says, “It was in 1982 that I first saw a Marilyn Monroe diptych by Warhol in a book at the Sir.J.J.school of Art library.However, understanding the spirit of Warhol’s work and letting it seep into my work was a   journey My miniatures is a culmination of that journey.” Like Warhol, Kainthola too keeps the context of her work contemporary while Warhol’s portrayals ranged from  Monroe to politics to Campbell soup cans, Kainthola’s range from New York burning 9/11 to the Myriad moods from all over the world  and India at it's best.

Durga Kainthola

A Subtle Shade of Humour runs though her paintings. In The Painter’s Studio, Kainthola’s own face acts as the canvas.Goddess Comes To New York, the first piece in the ‘Art Factory’ series, is a forerunner of the digitally enhanced works to come “My dream of going to New York remains unfulfilled. So I sent the Goddess Shakti there, “Says Kainthola. With a glint  of mischief in her eyes. Warhol is omnipresent in most works of this series. For example, The Last Judgement is Kainthola’s  version of Eve being banished from paradise with Dali’s soft clock in the centre of the canvas – a  reminder of time standing still, not just for Eve but for women in general. Warhole remains in the background, as a reminder of the higher

side of life. “My work s grounded in history, but its context is contemporary life. I am a firm believer in letting my work speak for itself,” observes Kainthola of the stimulating juxtaposition of ancient history and contemporary symbolism in her  work.The artist’s canvas boasts a varled vocabulary. Picasso’s Guernica, Saddam Hussain’s hand holding up a gun, Vermeer, Amrita Shergil, Aishwarya Rai, Andy Warhol, Marilyn Monroe, Salvador Dali, Shakti, Nefertiti etc are all deeply entrenched in her  renditions. So what prompts Kainthola to depict a particular personality or event in her work? “They Have to capture my imagination before I can capture them in my art,” surmises Kainthola succinctly.

Recent works by Durga Kainthola 

My work is documenting history as a reflexion of the process of change: Exploring myriad levels of visual imagery, juxtaposing iconographic detail drawn from the ancient and modern art both Indian and from the west, then moved into the fluid realm of active, syncopated three-dimensional visualization sequencing idiosyncratic language and perception. 

This journey into multi-media, moving imagery carries the broader dimensions of energy infused with contemporary metaphor. Mirrored in the highly polychrome written and painted signboards, modern enactments of miniatures, illuminated neon lit sign, the quotidian transforms into the surreal. Inspired by the works of not just the great artists of the world but by popular culture as well.

Relating to images that impinge on my consciousness with an analytic eye and a wry sense of humour. Thecontemporary miniature in gouache titled “Warhol and the History of Art” form part of an ongoing series since 2001,incorporating elements of theatricality of iconic figures from several epochs and cultures. 

With each passing years, my subjects of popular images have gradually diverged from painting to social statements wherein female beauty with time has metamorphosed into a marketable commodity, widely advertised across the globe under the thinly veiled guise of contests by multinational corporate and women magazines.Many of us are conditioned within the patriarchal mindset . 

Exploring multi-media into my work of art, through new media my work has evolved to a spontaneous and dramatic re-interpretation “Samkaleen Adunik kala”.

- Durga Kainthola

Recent works by Durga Kainthola 

Durga Kainthola graduated from  Sir. J. J. School of Art in Bombay and post-graduated at Maharaja Sayajirao University in Baroda, India. Her paintings have been exhibited throughout the past 20 years all over India and abroad. Her recent solo exhibition was held in Amsterdam and Hong Kong. One of her source for inspiration is the Pop Art movement of the 1950s in the US and UK. She explored a wider vision of the world where mass media, advertising and popular culture mingled with history, be it film, politics or soup cans. Kainthola has been described as “India’s answer to Andy Warhol”. She lives & works in Delhi.

Durga Kainthola( from Lelf side seating first) at J J School of Fine Art 1990

Portraits tell stories. They capture and freeze moments in the past to form part of the present and show the way to the future. Self- portrait, portraits of artists, mythological characters and creative persons from diverse fields have never failed to fascinate me as an artist. For me, they define a kind of a visual diary that is not confined within limits of time, space or color but is a continuous process that grows along with my personal growth as an artist. I try to bring across a fusion of contemporary images and mythology. Calligraphy is an integral part of my portraits. I blend print and mixed media to explore the borders of both traditional and modern technology.

Creative Drawings, cartoons, new media,Video art are hunting for alternative art by Endoscopy of Mumbai Artists- Tathi Premchand

Always thought of Art, ever thought of artist? Yes, I have been nagged by this question since a few months and take a serious note of it. Truly, artists reflect society in their creation. But what provokes them to involve themselves in this social act? What inspires them? Some reflect beauty, some grave facts and some mundane activities; but a common thread that binds them is the Power of Representation. This inspiration and power is their sheer inner instinct. One may learn the skill with external guidance and practice, but creativity cannot be taught. 

Tathi Premchand- Artist Curator

I am instigated to find out exactly what stirs the creativity in artist. One of my like-minded friend and artist like me, Rajendra Patil, also revealed the same drive to explore the core of artists. So he readily decided to be the mentor and co-ordinator of the show and examine the psyche of artists. Together we named this show as ‘Endoscopy’. Just as in endoscopy, the hollow body organ is examined, so do we intend to study the thoughts and views of artists. We have been in this field and practising painting since decades and our experience and maturity in this field have helped us spot some of the genuine artistic brains and provide them common platform to showcase their work.  

I am always enthusiastic and eager to work with young generation, as I finds them inclined towards using novel techniques and new media to enhance their work. They strive to be different and original. 

Pratik P Bakshi

This is not the first time that I am coupling with younger spirit, I had curated the first show in 2005. Back then, artist from various states were involved. But, as I mentioned above, ‘Endoscopy’ is a special show, highlighting the artist basically living and working in Mumbai city. These artists bring into limelight the life, space and pace of the ever changing and fast pacing world. Their perspective is novel and an intricate weave of estimable and speculative notions. We find new media skilfully used to present their ideas. 

I think it is not enough just to admire the art works of these artist, it is the time to admire and cheer the will, anxiety and placidity of these artists. Their allegiance with the art is admirable and deserves gratulatory address.   

Come to celebrate and admire the unfeigned gratitude expressed by Mumbai’s artist in their art, on August 22, 2015, at Art Gate, Mumbai. 

Tathi Premchand,

Artist Curator. 

showcasing Artists

TEJA GAVANKAR, NANDAKISHORE NANA TATAR,  ROHEN DUMBRE

VINIT LAWANDE, PARTIK P BAKSHI, AKANKSHA KHANNA
VINEET UPADHYAY, SALIK ANSARI, KIRAN PRAKASJI, SUKRAAT TIWARI, ASHWAM SALOKHE, MEHER AFROZ VAHID

Join me and enjoy this cultural shower by the Mumbai artist

With the natural showers on, all the galleries are enthralled with enthusiasm and are set to arrange Monsoon shows. Art Gate a recently opened gallery atChurchgate, Mumbai, too plans to arrange a monsoon show with the artist students from J.J.School of Art, Raheja Art College, Rachana School of Art and Amity University.  My self, Rajendra Patil has assumed the responsibility of being the mentor and co-ordinator of this show called ‘Endoscopy’. 

Show ‘Endoscopy’ has resulted from the very modest thought of arranging a show by assembling artists who are still in the formative stages and pursuing their degree in Art, i.e. the students of Art.  I belong to same field and has been pursuing career as an art educator and also following my passion for creation through my art works, since more than three decades. Being close to the zeal and enthusiasm of new generation I believe they have substantial potentiality. I also observe new media has entered the field and young artists make deliberate and profound use of it in their creations. The after-effects are not only noticeable but mind blowing too. 

I am happy with the intervention of technology, but also feel the need that as an artist and responsible representativeof the society, every artist must try to be rooted the  culture and tradition of his/her own country along with being global citizen and treading the path of modernization. Therefore I have selected a few artist who are modern in their approach and yet dedicated to their native art, culture and tradition. I have tried to observe and study the cultural furore that deeply courses in them. The result is seen in their creations. The show involves artists residing and working in Mumbai. The city, where there is diversity in people, tradition, culture and strata and all these elements enhance the beauty of Mumbai. It is necessary that we should nurture this deeply rooted culture and tradition to maintain our uniqueness in the world. Established artist have tried their hands at keeping it alive but novel perspectives of budding artists have to be considered and admired by giving a common platform to these tech-prone young artists. These artists will present their uncommon perspective. They have a curatorial approach.

Recent work by Salik Ansari

Every ritual has a scientific reason, right from praying elements of nature to the man- made rituals. To prove it, let us consider the simple yet compulsory ritual of applying vermilion by married Hindu woman on forehead and hair parting on head, what does it signify? The so-called modern thinkers laugh at it and consider it only as a part of make up by married woman, to look attractive and signify that they are married. But studies have proved vermilion as beneficial from scientific angle. It seems  that original vermilion contains mercury, the only metal in liquid form. It keeps the mind cool and the position where it is filled on head has the most sensitive part of mind underneath, and it has to be kept calm and composed from health point of view. So this mercury acts as healer. Then why only married ladies use it? The reason is apt, that, a girl is a carefree soul before marriage but as the wedding bell rings she becomes a responsible lady with lot of burdens and tensions. She has to keep herself cool to be a good home maker and so this ritual. Likewise, if we consider worshipping animals like snake, bullocks, and cows and so on, we know that these animals are life givers, many are friends of farmers. As ours is an agricultural country, it is obvious that reverence is paid to friend-animals. Even the inanimate things like account books, farming tools, gadgets are worshipped because they are important parts of profession. Family relations are given special importance and celebrated as special days. Apart from the national festivals, there are days in a year when great men like freedom fighter, saints and philosophers are remembered and their birth and death anniversary is celebrated. All these unique things need to be highlighted in art. 

Frankly, no book or syllabus teaches you to do this. This is absolutely a non-academic matter. Artists are never taught to think about it. But it is completely a subjective passion. I expected and haunted for exactly this sensibility in the students. I wanted their passion for art should excel beyond ready made knowledge provided by guides and educators. They should be sensitive to the vast treasure of art that is found among the folklore and make an attempt to give it a beautiful image; present the culture imbibed in folk art; bring into limelight the importance of various celebration.

In my search for cultural beacon lights, I spotted some of the most sensitive artist students who nurture interest in projecting cultural sensibility and hopefully the curators of traditional treasure.

Join me and enjoy this cultural shower by the Mumbai artist and get drenched in it on 22nd August 2015, at Art Gate Gallery, Churchgate, Mumbai. 

By Pankaja JK- Art Blogazine

SALIK ANSARI

Everyday technical appliances connected to the production of images are departure point and subject of my investigation. I am interested in the alienation of familiar spaces which can be achieved by the juxtaposition of appearance of reality on itself.  The point where the appearance starts manipulating the reality and creates a dialogue of exchange between them interests me.

I explore the aesthetic functionality of objects (screen, projection) and contemplate on the way they can be perceived differently. The works can be seen as self-referential. It also makes way for interpretation beyond the rational into surreal and poetic realms.

VINIT LAWANDE

I am Vinit Lawande,
I have completed my art college from Rachana Sansad  Fine Art. Mumbai.
I am sharing my ideas and artwork for viewing first time in a gallery in the city
Through the border between the artist and the audience, I desire to depict the world both in visual and spiritual sense.In my belief, art is what drew me nearer to the world, yet helped me see it from a different perspective.
I seek to create works that express the genuine self, the world, and its spiritual presence. Through these ideas,I continuously develop a symphony between colors, shapes, portions, ground and mediums. However,the physical elements are not the only relationships which have been bonded through this progress. The work itself and I, the space and energy and never-ending cycle of questions from the mind continues to build the art that I have built until now.
The “process” becomes the significant feature of the a formal work. It does not start ideal, but with the act of making the picture itself. 

The process seeks to disrupt around and intention for the work and chance becomes important feature .The spontaneous, unrehearsed gesture supplants the self-conscious and rehearsed.

Wheels of Possession.

Wheels of possession a procedural session in material substances and symbols of visual communication exercised in objects. It defines systematic planning and organization of literal matter into specified objects, references of situations occurred in past and present,current & creative connections of symbols objects and mixed media for expressing feeling and nature of events in minimal visual appearance.  
The ability to express, create and exercise structure and object to co relate memoric events stored 
in devices and storages. A mechanical and physical approach with minimal appearance cultivated in administrative material and reflections born from judicial order in aesthetic stimulus to communicate social
intelligence in reality. Gesture to judgement and acceptance of optical and mental awareness, speech and retaliation to judgement are collaborated in time. Feeling and stillness are constructed in space and 
relation of the self is mysterious if let ignored. 

TEJA GAVANKAR

She has recently done her P. G. Diploma in Painting from Faculty of Fine Art, M.S.U. Baroda, in 2014 and Diploma in Drawing and Painting from L.S. Raheja School of Arts, Bandra in 2006. She has also completed certificate course in Aesthetics from Kalina Unversity in 2011 and Dip. A. Ed. From J.J. School of Art in 2008.Mainly interested in drawing, her urge is to make drawings, finding the clandestine beauty in space or void as well. 

She is interested in subverting mundane spaces and adding a new perception to them. She intends to look at spaces as mental states and prefers to make use of existing materials or situations rather than bringing new material into the place.Teja attended an artist residency at the Darling Foundry, Montreal from September to November,2014. She was recently awarded the 'Nasreen Mohamedi' award in the MVA Display, M.S.U.Baroda, 2014. Teja has also participated at 'Khoj Peers Share' ‘Activating Space’ program, at Khoj,Delhi, 2014 and 2015. Currently working as a visiting lecturer at L.S.Raheja School of Art(Fine Art), Bandra and had also worked at Rachana\ Sansad School of Art and Craft, Mumbai as an assistant lecturer for 18 months. Teja lives and

works in Mumbai.

NEWS UPDATE FOR PRESS ALL OVER INDIA

PRESS RELEASE Exhibition

 Endoscopy of Mumbai Artists at Art Gate Gallery

Exhibition details: 22nd to 28th August 2015-11am to 7 pm

Art Gate Gallery- 1st Floor (above Satyam Collection) Chheda Sadan 115, J Tata Road Churchgate Mumbai, India 

POSTER OUT: Endoscopy of Mumbai Artists- Art Gate Gallery - Mumbai- 22nd to 28th August 2015

The artist lives and works in Mumbai.  

Exhibition details: 22nd to 28th August 2015-11am to 7 pm

Art Gate Gallery- 1st Floor (above Satyam Collection) Chheda Sadan 115, J Tata Road Churchgate Mumbai, India 

Go Astern!

• 1. Cicadas Whirlwinds

Imprints of this print smells the combustive illusionistic vibrations of skeletonish   architectural structure drawing, seeming with body topology and convulsion of natural form- trunk of insect cicada. The oceanographic   composional   division with erosive rusting coastline and the living relation between land and water. 

• 2. Autostereosopic Wavefronts The unearth intrinsic traces of vessels and the uploads of newer trajectory trails, ship goes –comes, the burials and cleavage remains, captured by curious cannon. The nerves of sea-body finds its way out,forming a white cap, foggy surf juxtaposed on autotrophic algae and the pictorial cosmos thus created by it. 

Recent work by  Shrinivas Mhatre

• 3.  Aerial Thermo sensitivity

The Energized visual engraves with rippling pyrotechnical essence merged in hydro moss. The manoeuvre of technical drawing emerges through topographical glimpse the leeway composition indicates to the projectile rowing motion.  

• 4. Thermo sensitive Topography 

Its parallax comes up with the twist and turns of ship’s trunk steering fierce of scarletish hues in cerulean blues of aqua and leafy outrigger. In such a surrounding there exists a wounded resolute structural body; the buoyancy of aqua keeps it in tension of surface...splashing magnitude waves.

• 5. The Reverberation of Gulf 

The visual Sonic Reverberation between edges of gulf created by spontaneous strockes spinning out from a insectum manned solid. The path continues to be a hollow drill by rustic land on both sides which leeway’s the nuance of ultra waves.

• 6. Aerodynamic Geology of Marine 

Nostalgic glimpses of flight travel imprints in a dioramistic form. Then imitation of chopper view is pictorially assembled by the help of technical aesthetic and acoustics is thus created by topo- effect bringing up suitable lush green and aqua marine colours.

Recent work by  Shrinivas Mhatre

• 7. Microscopic Introspect 

Out of the selective drawing study of warrior ship here the artist investigates one of the smallest part zoomed in, out of curiosity of its detailed design. Here smells the attrition of solid body and its archaic minute. This comes out, not to be recognised accurately but a support structure to animate inner emotions on surface.

• 8. Sedimentary Schooner 

Semi-hovering schooners, sedimenting on robust early stain, aroused in sea body, by whiplashing in tempest. The hide and seek play on an abandon curvature of ship yard, holding the memories of past.

• 9. Impulsive Radar 

Indication through waves direction the path of travel .This devise Radar used as a metaphor of ‘Life’ and ship as ‘Thoughts ‘ in a motion , that travels in ‘n’ numbers of directions and creating dimensions. That proliferates the journey.

• 10. Reverberating Resonance

Sporadic out bust of Ultra-Sonic visual vibes spreading triangular palpitations, its resonance which infinitely reverberates from spin of apt (the back part of ship).The apt here is imaginarily overlapped by ship trunk’s imprints which centrally divides the composition into symmetry releasing propulsive energy forces in all directions.

• 11. Propulsion
Kinematic propulsion generated by syntactic structure in a space. Where the form or object amalgamates its features with terrestrial where as aquatic, manned as well as natured forms like bird-insect -aeroplane, fish-ship.The space, in which they dwell, the motion created by them, is researchably observant.They share common features like horizontal caudal keel which helps them in motion.  Here an object (a form) is in a space which is likely to be similar with aerodynamic propulsion which is against gravity, or a motion of fish in water, or the ripplesion created when ship body movin in water.

• 12. Emergence of Submergence

Buoyancy that resists the floating to sink scattered that becomes ship wreck, a motion that has left its breadth on bay converting it to foliage. The aftermath of seismic wave’s collusion leaves it in a constant dance of sub-merge-emerge.

 

Artist: Shrinivas Mhatre

Go Astern!  

reckons up in trajectory of Shrinivas Mhatre’s journey of projecting as an artist.Being the resident of ‘Mumbai’-India, which has a nourished surrounding of hydra-coast, the artist smells the city in different essences, adding his own intuitive sensations through Print Making’s ‘Viscosity’ process.Occasions like art camps, awards and art exhibitors made him travel through air; these newer cannon registered an unforgettable memory in artist life.An Aerodynamic, dioramatic  perspective of imagining things from bird’s eye view was then implied in his prints and forms of ship entered in his expressions.The drawings which help marine architects and mechanic where taken as reference point ,and the glimpses of scenes from various movies relating to sea and ship comes in pictorial representation of his artwork. In this various moods of the cosmos and different physicality of sea and air body is carved. Observing every detailed texture, colour, forms; composing them and giving it an autosterioscopic glance.  Shades of lush green emerging by rolling yellow-blue in particular colour density and time span, this is an advantage of viscosity’s achieved experimental effects; on which try to similaiarate with form of an outriggering aqua algae. Interesting part of forms which are used in are- the animation of it which generates the visual vibes seeming with the motion of cicada, damselflies, dragonflies,of insects family. Topographical view is key interest of his work, intersecting the blending of common mechanism of aquatics well as aerial manned and god gifted; imprinting this in one geological space compounds an art work.                                                                                                                                        


- by Harshda Nirgun.

Hrishikesh Mukherjee: A Counselor in disguise of a Director.

Art is reflection of society. I have been writing about various genres of art and find that every genre is interrelated. Visual 2D can be animated in motion media in 3D form. The society that reflects in cinema can be captured on canvas or paper by a painter. Dance can project a whole life of a particular character. Songs emote various emotions and feelings and so on.

Hrishikesh Mukherjee

Today the movies of Hrishikesh Mukherjee kindled me to write about his non glamourized directorial brilliance. Hrishi-da, as he was lovingly called in Bollywood is a well-known and one of the most loved directors. He is a common man’s director. Though he is dead I still feel his presence through his cinema. And it is also a well-known fact that an artist never dies, he lives in his art, so do Hrishi-da. The magical effect continues to linger over our minds through his awesome movies like, Chupke Chpuke, Bawarchi, Khubsoorat, Satykam, Aashirwad, Guddi, Mili, Anurdha, Abhimaan and others. These films are amazing and mind blowing even though non-glamorous. These films bind us with warmth and simplicity.

 

I do not wish to analyse his movies into comedy and serious dramas, instead I am presenting the common thread that runs through these films.

The most common factor is his association with common man’s life and that makes us relate to his films.

Why do I call him counselor? Because, I had read somewhere that Hrishi-da had said that he would better have been doctor than a film-maker.

I think he was not less than practicing doctor. He touched human mind and psyche. He understood human nature better than any film maker. His observation and analysis is closer to that of psychologist. His every film touches upon both these aspects and a viewer tends to learn or take a healing dose from it. To start with, the best example is ‘Anand’ where he subtly suggests to live every moment happily even if under distress, here critical ill Anand (played by Rajesh Khanna) shows the spirit of living. It is like practicing happiness, or controlling your own happiness in transitory feelings and circumstances.

No one is perfect. The imperfection of human nature is perfectly projected in his film ‘Anuradha’, a story of an idealistic doctor who neglects his wife or Ashok Kumar in Satyakam who has treasure of religious and philosophical knowledge but fails in practical life to accept his own grandchild due to wrong notion.  

The characters of all his films seem real. Many of the characters are the reel presentations of real life. According to his daughter-in-law Swati loves western music. Hrishida asked her about Ustad Zakhir Hussain, she showed her ignorance of Indian Classical music and told him that Ustad was very famous and very handsome. Hrishida was shocked at her knowledge of Indian music. He himself was very finely tuned in Indian classical music, the songs from his films are hummed till date. But who can ever forget the first Indian Rap song by Ashok Kumar, ‘Rail gadi, rail gadi…bich wale station bole ruk ruk ruk ruk…’?

His films have protagonists who are staked by circumstances, but as human nature every person tries to win over negativities by hook or crook.

Two realities of life are the recurring themes of Hrishi-da’s movies; Happiness and Death. According to him, all the attempt of humans is to make life happy and secondly, death is inevitable. Humour is followed by pathos and also there is a silver lining to every cloud. Unlike, main stream cinema which gives us larger than life picture and many a times unrealistic modus operandi, Hrishida lets us confront reality and accept the facts of life.

Hrishi-da was a simple man in real life just like his simple films. He believed that artist reflects himself in his art. He followed his instinct to project common man, his feelings, deeds, follies and foibles and all the virtues that makes up his life. Simplicity has influenced almost more than three generations and even today’s techno generation is awed watching his movies.

I think the mantra behind his dedication lies in his reflective thought: Your own glory is better than reflected glory. (As told by Swati Mukherjee, his daughter-in-law).

-  Pankaja JK

(Courtesy image and video: Google- shemaroo) No right of image from Art blogazine, 
ALL pictures are for illustrative purpose

   

Art Gate Gallery

About the artist: other artist work details coming soon and please contact more details about show and artist work Enquiries 
022 4213 8855 Time 11am to 7pm only 
 
The artist lives and works in Mumbai. 
Art Gate Gallery  can be contacted Dear all artists : Share your idea with us ..Email: artgate.sc@gmail.com Mobile: +91 98 92 229477 Tel: 022 4213 8855/56

Art Blogazine - Upcoming Event

About the artist: other artist work details coming soon and please contact more details about show and artist work Enquiries 
022 4213 8855 Time 11am to 7pm only 
 
Art Gate Mumbai. 
Art Gate Gallery  can be contacted Dear all artists : Share your idea with us ..Email: artgate.sc@gmail.com Mobile: +91 98 92 229477 Tel: 022 4213 8855/56

To Say Something According To My Conscience- by Premjish Achari

The fifth voyage of Sinbad the Sailor is important for us. It is in the fifth voyage that he encounters the wicked ‘Old Man of the Sea’. The rest as we know is a tale of Sinbad bearing the burden of the physicality of viciousness. But finally he tricks the old man to drink and kills him in an inebriated state; not only to escape but also to end that burden forever. This tale from Arabian Nights was narrated here to illustrate two points – one is to highlight the incidents which follow after Sinbad listens to his conscience and second to point out the structural similarity in the way Sinbad carries the old man and K.S. Radhakrishnan’s Musui carries Maiya in his latest works. Sinbad follows his conscience and rescues the old man but later on the old man sitting on his shoulders become his conscience. He controls Sinbad but the execution of the old man redeems Sinbad from that perpetual agony; hence this struggle of Sinbad is symbolic of the tussles to overcome external influences and set norms of the society. Visible here is an inherent tension between control and autonomy. The comparison drawn here, as I mentioned earlier, was done for structural similarities because Maiya sitting on the shoulders of Musui is not conceived as a burden. She rather impersonates his conscience to guide him. He is seduced by her, influenced and moved by her.

K.S. Radhakrishnan

Like the benevolent Happy Prince of Oscar Wilde who gives away the golden leaves that cover him to end the misery of many and finally sacrificing his eyes made of precious stones; like the mythical Arjuna from Mahabharata halt himself in the moments of self-doubt and guilt, only to be enlightened by the reception of a new philosophy from his friend and charioteer the Lord Krishna; like the turbulent Hamlet who ponders painfully about the options between death and vengeance, the human mind perpetually is motivated by the principles, is guided by the conscience, and at times is also in a battle with the conscience to do what he wants to do.

K.S. Radhakrishnan’s latest works are an example of his intellectual versatility, dynamic imagination and also a willingness to experiment with newer themes without compromising on his craft. In one of his latest exhibition Radhakrishnan has presented us with the idea of ‘Terrafly’. These are air bound sculptures first exhibited in Shantiniketan presents us with philosophical thesis executed in sculptures on the themes of conscience, control and actions. Terrafly is the guiding light, like a lighthouse standing atop a tall pillar Radhakrishnan’s ‘Terrafly’ stands on a pillar made of tiny figures crawling on them. Musui and Maiya are the Terrafly above us. They are watching us and are a figure that have an aerial view on our lives. Way back in 2008 Radhakrishnan executed a sculpture with the similar theme titled ‘Terrafly on the Human Square’ which was displayed in Lalit Kala Akademi, depicted the ‘Terrafly’ in its full glory. He was placed above a pillar and there were many figures on the square platform moving towards and away from the pillar. The sculpture resembles the Biblical Sermon on the Mount. With a prophetic demeanour Terrafly encounters the multitude holding the pillar like an acrobat displaying his physical flexibility. Terrafly reminded me of Jesus Christ as if he is in an act of delivering a sermon, narrating a parable or inviting children towards him. Like all prophet’s he too gets the attention of some and faces the ignoring of others. The ‘Terrafly’ is imagined both as Maiya and Musui. These live size sculptures signify the larger than life presence of Terrafly in our lives. His style is lucidly classical. These sculptures characterise Radhakrishnan’s ability in showing how one can make profound philosophical statements while executing a sculpture. What remains central to his repertoire is the way he has used a host of ideas to convert into sculptures. He invites us to congregate in the presence of this shamanic figure. The invitation is for a mysterious ritual to witness the power of this figure. Hence, the Terrafly is also a totem. The experience is spiritual. As Freud had observed:

K.S. Radhakrishnan’s latest works

“In the first place, the totem is the common ancestor of the clan; at the same time it is their guardian spirit and helper, which sends them oracles and, if dangerous to others, recognises and spares its own children.” (Totem and Taboo).

Therefore it is this figure’s extreme excess and its gratuity that make it totemic. Its physical manifestation does not disturb us. They exist as an emblem which has symbolic value in them. Terrafly is the tower of power. It is not a Foucauldian panopticon which is there to torment the soul and monitor the prisoners. It is not the technology of surveillance. Terrafly is the centre of power rooted to its ground. In a way Terrafly is Radhakrishnan’s own idealistic conception about power where we a guiding light is needed but it should stand for the people. It should be accountable to its citizens. It is the vision for a foreseeable future of a utopian democratic global state without a hegemonic institution to control all of us.

The exquisitely smooth yet somewhat porous surfaces of Radhakrishnan’s sculptures exudes a sensuous pleasure and are telling imitations of extra-ordinary bodily shapes. These monumental figures are often complicated by a sequential movement, a strategically placed arm or leg or twisted body movements. In Radhakrishnan’s imagination his Musui and Maiya floats above this world; watching it all and experiencing it all.  

Radhakrishnan’s works speaks loudly and persuasively about the redemptive qualities of sculpting. He is an influential sculptor and, at the same time, an influential analyst of sculpting. Few sculptors are as willing to adopt the role of commentator of their craft. He has done his best to dismantle the conventions by which the art world has lived for many years. Terrafly stands for the entire humanity. It shines atop and watches over the individual to society.

In another group of sculptures we see Maiya in various positions above the head of Musui. They are again live size sculptures. The movement of Maiya is varied. She is sitting, standing, and sometimes seen in acrobatic actions.  I would like to bring in Freud again on the issues of conscience. The visual similarity between the Sinbad story and these sculptures is remarkable but the conceptual contrast is also magnificent. Here Musui is not burdened by the presence of Maiya. He is calm and serene. There is stillness in his face acknowledging his surrender to his conscience. The lure of its charm is erotic. But it is not tense. It is tranquil.

K.S. Radhakrishnan’s latest works

Again I would like to begin with some strong Freudian ideas to ruminate on the psychological dealings of the conscience. According to him ‘conscience is closely associated with a sense of guilt, in that we feel guilty if we go against our conscience. This was of particular interest to Freud, who sought to give a psychological explanation for it. He argued that, through our early upbringing, we learn values that continue to influence our moral awareness and our conscience later in life. He distinguished between three elements in the mind - the ego, the id and the super-ego. At its simplest level, the ego is the rational self, the id is the self at the level of its physical and emotional needs, and the super-ego is the controlling, restraining self. Clearly, conscience is an aspect of the operation of the super-ego. For our purposes, the importance of this view is that it challenges the role of the conscience, and also raises questions about our freedom.’ (Mel Thompson)

Here Radhakrishnan tries to represent this dilemma which Freud is also baffling with. Is conscience innate or acquired? Though we cannot dismiss the role of the social in our lives but we also have to assume that we have a mental faculty which allows deducing and processing our actions. It is always alert. How much socially constructed it is and guided by the principles of society it also allows the individual to overcome it. If Acquinas argues for the functionality of conscience as an agent to decide between right and wrong, Joseph Butler ascribes conscience, superiority in hierarchy which could over-rule the impulses. Maiya here represents this hierarchy in their relationship. Radhakrishnan has been successful in burrowing after the deeper emotional realities in their relationship. He tries to break a Kafkaesque aphorism, “The inner world can only be lived, not described.” Radhakrishnan’s works abound in these narratives where imagination will not be denied. He executes the portrait of their world by portraying the interiority of human mind itself. One must not forget the value of thinking as observed by the Jewish scholar Hannah Arendt, “The sad truth is that most evil is done by people who never make up their minds to be good or evil.” The movement of Maiya is the movement of the conscience and the stillness of Musui is the stillness of introspection like Oscar Wilde has observed, “He who stands most remote from his age is he who mirrors it best."

Apart from these works there are five seated figures with tilted movements. They have the facial expression as if they are punished or questioned by their own conscience. The tilted position is the final surrender before the conscience. They are Durga like images conceived to project this superiority of conscience over us. Its superiority, the god like nature, the totemic relevance and the mythic connotations are projected in them.

‘Terrafly’ is Radhakrishnan’s most intellectually ambitious endeavour where he explores the role of conscience in human life through the language of sculpture. It has admirably, resulted in works of unique brilliance and beauty. Sensuously rendered this exhibition is a significant achievement by one of the greatest sculptors of our time. While engaging with philosophy, he decorated his propositions as sculptures which are strenuous and unconventional. 

Premjish Achari

by  Premjish Achari is an independent curator, writer ad translator based in Delhi. Previously he has been a Contributing Editor for Art and Deal magazine. He has written extensively on modern and  contemporary art for Art and Deal, Art Etc., Lalit Kala Akademi, etc. His catalogue essays on Akbar Padamsee, KS Radhakrishnan, Vanita Gupta, Devraj Dhakoji, etc. has featured in the exhibitions of Art Heritage Gallery and Akar Prakar.

Artist Manish Nai, Gallerist Dadiba Pundole, Professor of Architecture, Mustansir Dalvi and Cultural theorist Ranjit Hoskote

It is time once again to look at our current exhibition "Ram Kumar: Works in the Jehangir Nicholson Collection" from different perspectives. Our next event - 

"The Futures of Abstraction" -  a panel discussion, gives us the chance to do just that.

Artist Manish Nai, Gallerist Dadiba Pundole, Professor of Architecture, Mustansir Dalvi and Cultural theorist Ranjit Hoskote will explore the potential futures of abstractionist art, which has a substantial presence in the Jehangir Nicholson Collection. The 20 works of Ram Kumar that Nicholson put together over the years, are a wonderful example of this. 

Do join us on the 29th of July, 2015, at 5.30pm. 

Tea will be served at 5pm.

Today's Artists- Cartoon

Today's Artists- Cartoon 

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