# MONEY * FOOD @ LIFE, at Jehangir Hirji Art Gallery, 1st floor, Fort, Mumbai, Inauguration at 5 pm to 6 pm on 15th Feb 2016, Chandrakant Ganacharya Mumbai

# MONEY * FOOD @ LIFE, 

at Jehangir Hirji Art Gallery, 

1st floor, Fort, Mumbai,

Inauguration at 5 pm to 6 pm

on 15th Feb 2016,

Chandrakant Ganacharya

Mumbai

(Un)Common Concerns

Grocery bags filled with calculations- mostly subtractions, clothes designs on onion, ATM Slips, text messages that keep bumping into a salaried person's cellphone, or a wallet and common food like Wada-Paaw... constitute a language of the everyday that Chandrakant Ganacharya has seen in the city and elsewhere. It finds it's due place in his work, and boils down to hunger, struggle, and the powers that form the lure and lore of this everyday. 

Artist : Chandrakant S Ganacharya

Beneath the overtly middle-class concerns readable in Chandrakant's work, there are layers of meaning common not only to a class, or not only to humans. Everyday stuggles can be a reality for a turtle, a frog, a lizard, an octopus, or a jellyfish.The artist places these animal and insects, graphically under the onion that has been sitting on a throne - thanks to hoarders and their political bosses.

Chandrakant's installations are eloquent about absence, though each of them looks visually abundant. Each ATM slip digs deeper in your bank balance. The text messages bluntly say : you have (only this much of) money or you will need a loan to fulfill your dream. 

Recent work by Chandrakant S Ganacharya

The artist further explores these absences by mock recollection and re-enactment.The redundant coins with denominations like 20, 10, five, two and one paise are now executed in terracotta. They were once there, three decades ago, knows every Indian in his fourties, as the work makes the viewer think about a civilization as old as Mohenjodaro or Lothal. Another re-enactment, of the verbal wisdom about hunger, a full meal or acute lack of it , comes to the viewer as speech bubbles, made out of rusted steel dishes of various shapes and sizes. Proverbs, sayings and thoughts in various languages of the subcontinent are literally dished out. 

Recent work by Chandrakant S Ganacharya

Chandrakant's graphic representations, as one in the work titled " Krishna Chhaya" evoke literal clues to black money. However, the artist has a silent mode. he makes us look silently at the row made of gold-plated peanuts and pins... ants, obviously... or is it us? 

The concerns in Chandrakant's work may look common as they reach us. But once we ponder over them, they are not common.

# MONEY * FOOD @ LIFE, 
Jehangir Hirji Art Gallery, 
1st floor, Fort, Mumbai,

Inauguration at 5 pm to 6 pm
on 15 th Feb 2016,

Chandrakant Ganacharya
Mumbai

Join us anytime, from the 20th to the 24th of February,

Dear Friends,

For four days, the Curator’s Gallery, CSMVS, shows new work by Howard Hodgkin, in the exhibition Made in Mumbai, 2016.

Join us anytime, from the 20th to the 24th of February, in a celebration of Howard Hodgkin’s deep connection with  Mumbai and the warm response of people, to his work reflecting the light and life of the city.

The film Howard Hodgkin in India, produced by the British Council  brings the celebration to an end on the 24th of February at 6.30 pm with a screening at the Visitor’s Centre Auditorium, CSMVS. Tea will be served at 6pm.

We would also like to invite you to an evening with the artist Sakti Burman, who will be in conversation with cultural theorist Ranjit Hoskote on the 22nd of February 2016. Sakti Burman who is in the city for a solo exhibition of his works, draws his inspiration from several sources, ranging from the Ajanta caves to the paintings of the Italian Renaissance. The evening promises us insights into an artist who has embraced two cultures and created from them, his own unique world of fable, fantasy and myth. 

Do join us on for tea at 6pm at the Visitor’s Centre, CSMVS on the 22nd of February. The talk will begin at 6.30pm.

Delhi Art Fair at its absurdity best!

A recent visit to India Art Fair in Delhi, observed as India's most prestigious Art Fair in the country known for its class, scale and presentations of its featured artists who participate with various style and genre at the Art Fair aimed for public viewing. The Fair is significant for creating a sense of curiosity for art lovers and artists across the country. It is considered as one of the motivational event for creative brains. However, it was a bit awkward process this year, where one had to go through series of terms and conditions and security protocols issued in an environment of sensitive expression and emotional belief and intimacy. No doubt, it must have been in the keen interest of security, but on slipping in, there was lot more to be sensed than just security rationale.   

New Delhi Entry for New Hope in Art 
( image wikipedia)

Generally, upcoming artists and art lovers come here to witness the salutary creations of established artists and attend discussion and talks about current and feature art works, curatorial projects, collaboration of galleries with artists, art in public spaces and art education and practices. The initiative taken by the galleries and established artists in the country show a keen interest in development of art and education and bringing new dimension and perspective and verticals in academia of visual practices and initiating public forums as well as creative programs to engage art practices within public space. All said and done! Fair enough, witnessed by a few who could trick themselves in the campus of sensitive, sensible and sumptuous creativity zone. 

The basic idea and hopefully if not mistaken, ‘Art Fair’ is organised in park where there are shows and display of artistic fervour and it is entirely aimed at impressing public and art lovers despite of their financial and social status. It is supposed to be free from favoritism or self-interest or bias or deception; conforming with established standards or rules. But this Art Fair has totally changed the concept, it has not at all been fair to many and the idiom 'Everything comes at a price", seemed pertinent to the operation of whole affair of the Fair.

The rates of ticket amounting thousands is an expensive matter for the passionate artists and patrons of art coming from far off places to view, admire and learn as as they can from such Fair. But I think a 'Piggy bank' meant to inculcate good habit in children of collecting and saving money, should be followed by these artists and patrons to collect and save money for the upcoming Art Fair, so that they can get the entry, if lucky enough! More than a layman who is supposed to view and develop appreciation for art, one had the feeling that it was a summit of elites. The pompous socialites were the most sought after and heartily welcomed viewers of the Fair. Discussions were nothing but diplomatic views. Established artists forged elements and textures of verbal expression. Obviously ending up as entertainers of numerous platforms with their directorial ideologies and philosophies. Evidently, the neutrality was completely diluted and farce irked the patrons of art. It was clearly an exaltation of delusory beguiling. The spot turned out to be the resource of placid clandestine deal with the certain class of influence. The art lovers and artists from third estates or masses were rare at the scenario as the invitations were restricted to elites only.

India Art Fair- Photo by  Lawande Vinit

This Art Fair failed to establish connection with novice artists and art buffs among masses and that too ironically at the happening taking place at Public Park. This was a grave mistake; very offensive! It has to be given critical importance, because the neglect of masses for classes can affect the future of Art Fair.   

The only rectification for this mistake is that there should be no viewing restrictions and limitations on entry for viewing art works and getting acquainted with established galleries and artists expressing concerns on introducing programs to engage artists and masses into art practice for development of language and vision of art as a representative culture for all, in common interest.

I believe, that if almost all the established artists of today who vocalize their complain about restrictions, permissions and explorations and quest and queries of art when confronted by institutions and galleries, then why do they go mute in case of restrictions, permissions, explorations and quests that pop up at such events held in the name of Fair, for layman, at public spaces?

Do you think : Kabir can go to today's  art fair ??? ( image wikipedia)

Think : Kabira, are the today's Art Fairs for you?
No glamour and bucks to showoff, but only
awareness and distinctive creativity by you!
Save Kabira, save, just for a glance of the proclaimed few,
'cause your presence and intellectual level will be snubbed ,
Evaluating you on basis of  social and economic view.     
 

Introducing new ideas and new visions is easy to express, but the bitter truth is far tasteless in reality. In recent times or until today I have not seen any collaborative projects being introduced in public spaces or in institution by artists or galleries as they are solely for private circulation. To get into the circle one has to count the price and not just calculate on your art or process. Invitations move within certain circles and not in Art Institutions or for young and talented artist waiting eagerly, ready to work.

Artist :Lawande Vinit

Sadly, such organization of programs are not encouraging, instead these seem to be only an encroachment of public parks. Art Fair at Public Park is moving away from its sublime motto of development in spreading art and its processes among society to promote young talent, introducing them to various platforms of development. This very base has been reduced to secondary consideration. Art fervency is chocked in unfavourable, faith-lacking conditions of such events. If the constant rejection and criticism of masses go point-blank, very soon it will jeopardize the manipulative intentions that are gaining preference.  

 Vincent van Gogh (1853–1890)
 ( image wikipedia)

Being global, is the need this age. Unlike Vincent van Gogh, who had only one exhibition in his life time and sold only one painting, now artists have to display their art and make their art known to the world through various mediums and gallaries, so exposure to knowledge and opportunities is a necessity, so there should be no barriers for strugglers, students and patrons on entry and participation in various forums and talks. As a well- wisher and an art patron I feel, it would be the right move if galleries introduce public forums creating opportunities of art, culture and literature in simple and common language for all and must be patient in the process. If such events in interest of public, have to be made a huge success, involvement of art appreciators from among the masses have to be entertained and encouraged.

By Pankaja JK 

in association with Vinit Lawande.

(2016 - No copyright claim of any image by Writer or Artblogazine.com)

send feedback to JK  pankjajk@gmail.com  /  Vinit Lawande : vinit.lawande@gmail.com

Also Read More on New Magazine website :

http://www.artblogazine.in/delhi-art-fair-at-its-absurdity-best/ 

Disclaimer: The opinions expressed within this article are the personal opinions of the author. The facts and opinions appearing in the article do not reflect the views of Art Blogazine  and Art Blogazine does not assume any responsibility or liability for the same.

POSTER OUT / website www.tathipremchand.com / coming soon

coming soon
www.tathipremchand.com

Amrita Sher-Gil- Pride of Indian Art. Born: January 30, 1913 Today is a day of celebration in Art world- birthday

Today is a day of celebration in Art world- birthday of most prominent first Indian woman painter Amrita Sher-Gil. Amrita proved herself when it was not very easy for an Indian woman to project her talents and skills worldwide. Though she had the advantage of her aristocrat heredity and a Hungarian mother. Earlier stages of her short-lived life was spent in Budapest, Hungary. 

Born: January 30, 1913, Budapest, Hungary( image wikipedia)

She did her art schooling in Paris, none of her earlier paintings were close to Indian context, in fact she was influenced by European painters Gaugin such as Paul Cezanne and Paul along with the influence of her teacher Lucien Simon and some of her artists friends and lovers. While in Paris here paintings were westernised and quiet similar to Bohemian style that was a trend in 1930s.  

Group of Three Girls, Oil on canvas, January 1935 ( image NGMA Mumbai)

But her sixth sense always pulled her towards India. She and her husband stayed in Saraya, Gorakhpur. Her touring in India took her to remote places and village life, women plight grabbed her attention. This was the ultimate destination and fervour of Amrita Sher-Gil. Her paintings had a powerful impact like the maestros of Bengal school of art. Her paintings portray plight of Indian women, villages he the raw and remote beauty of India. Her paintings were similar to Bengal School of art maestros such as Rabindranath Tagore and Abanindranath Tagore. Indian tradition was root of her creation and remained lifelong. 

South Indian Villagers Going to Market, 1937.
( image wikipedia)

Amrita Sher-Gil lived in pre-colonial era. Her family was much influenced by British Raj. But she was the supporter of Congress and Gandhiji’s philosophy. The grandeur of her paintings lie in the poverty, downtrodden people and village life that she excellently portrays with her perfect sense of colour. It seems as if she lived their life. The paintings are empathetic. Her feelings for poor rural India. The paintings impressed Pandit Jawaharlal Nehru when he visited her at Saraya, and he proposed to consider them for the Congress propaganda for village reconstruction. 

Portrait of leading leaders
( image google)

During the Independence period many artists used their art for political propaganda. Many were successful and became famous by drawing portrait of leading leaders. Art was instrumental in Indian Independence. But here it is important to note that Amrita Sher-Gil was most influential woman artists equal to men of the time. Earlier she also had the honour of becoming the youngest and only Asian artist to be elected as an Associate of the Grand Salon in Paris. If we calculate her treasure of paintings in commercial terms, then she is one of the most expensive painters of the world. Her life full of affairs and friendship with men and women makes her life look like a story of novel. Other than becoming inspiration for contemporary artists her life and works also influences works of literature like Urdu play ‘Tumhari Amrita’ by Javed Siddiqi, novel ‘Faking It’ by Amrita Chowdhury and so on.

Truly genius!              by Pankaja JK Art Blogazine

(2016 - No copyright claim of any image by Writer or Artblogazine.com)
(2016 - No copyright claim of any image by Writer or Artblogazine.com)

send feedback to JK  pankjajk@gmail.com 

Also Read More on New Magazine website :

http://www.artblogazine.in/amrita-sher-gil-pride-of-indian-art-born-january-30-1913-today-is-a-day-of-celebration-in-art-world-birthday/

comment  below about what you like or dislike : get reply from Pankaja JK

"JITISH KALLAT: Covering Letter " which opens on the 15th of January 2016.

Delighted to begin this year's programming with 

"JITISH KALLAT:

 Covering Letter " which opens on the 15th of January 2016.

Jitish Kallat is at the forefront of India's contemporary art movement and and his work has been shown extensively across India and the world. 

In 'Covering Letter', he uses a piece of historical correspondence - a brief letter written by Gandhi to Hitler in 1939 urging him to reconsider his violent means. 

It is in line with some of his earlier works such as ‘Public Notice’ (2003), 'Public Notice 2' (2007), and 'Public Notice 3' (2010) where a historic speech becomes a device for contemplation.

The exhibition is part of the JNAF and the CSMVS'  efforts to engage more actively with practitioners of modern and contemporary art and provide audiences an opportunity to engage with their work. 

Please join us for the opening at 6pm at the Jehangir Nicholson Gallery, CSMVS, and thereafter to a conversation between Homi Bhabha and Jitish Kallat at the Museum Lawns.  

Perceptive Recitals : 'Recite a poetry and it hums within the space.'

Perceptive Recitals is a connotation attributed to the collective emergence by artists who have similar artistic socio-cultural background. The sensibilities, that enrich and nurture them, runs parallel resulting in the development of coherent expressions.

Participating Artists: Urvi Chheda, Henal Visaria, Swapnil Godase and  Hetal Shah atArt Gate Gallery, Churchgate, Mumbai. .

The artists bring forth holistic approaches of art devoid of political digressions in their contexts. The artworks reflect the processual features of present and attempt in projecting the virtues of enlivening the moment and exploring the wider aspects of sustenance.

Henal Visaria | Warrior | Concrete and Metal | 24 in

Henal Visaria, graduate from Sir J J School of Art, from the department of Sculpture in 2010, exchanges her role from being a sincere home-maker to a sculptor and deals with mediums that are painstaking and timely that evolves her patience as well as forte. She has participated in numerous group exhibitions in Mumbai and her artworks are owned by multiple private collectors. Henal continues practice at her studio in the suburb of Borivli, Mumbai. Artist through her sculptural attribution is in the attempting status to withdraw the inner chaos that governs the populace of the present culture.

Swapnil Godase | Emotion | Stainless steel, Mild steel and Brass | 48 in

Swapnil Godase, graduate from Sir J J School of Art in 2010 and an ardent art practitioner jostles his time from setting up large murals to pondering over his personal aesthetic expressions. Adept in metals of Copper, Brass, Mild steel, Stainless steel, etc., he has emerged expertise in building large sized murals at numerous residential and commercial spaces as well as his artworks have become part of many collections. Swapnil Godase assisted by his co-workers practices in a large and active studio space at hustling and buzzing locality of Reay road, Mumbai. The exchange of the contradictory virtues of the besetting surrounding and its play amongst individuals is projected in the huge metal welded portraits structured by the artist.

Rutwika Sawant | Untitled | Acrylic on Canvas

Rutwika Sawant, graduate from L S Raheja School of Art in 2010, delves with great patience as well as perseverance with the subjects she carves onto her canvas. . She has participated in numerous group exhibitions in Mumbai. Rutwika continues to practice at her space in suburb of Dahisar, Mumbai. Spontaneity and the significance of presence acts as strength, for her, to release the tacit movements of conscience. Playing with same concepts she fiddles with her mediums to develop an abstract language of flat width of colour washes on her canvasses.

Hetal Shah | Untitled |Acrylic on Canvas

Hetal Shah, a Graduate Diploma holder from L S Raheja School of Art, Mumbai and Masters in Indology from Tilak Vidyapeeth, Pune, has participated in varied group exhibitions across galleries in Mumbai like Artist Centre, Jehangir Art Gallery and Pradarshak Art Gallery. Switching her roles from being a sincere spouse to a disciplined teacher at NES National Public School (Mumbai), to a bright painter, she squeezes out space and time to regularly paint her canvases and create her world of imagery by dispensing colorful palettes of fluorescent thoughts. Hetal lives and practices in the suburban city of Dombivli, Mumbai. The paintings exhibit a wide spectrum of emotions of hope, love, relief, courage, contentment, relaxation, excitement etc. The artist does not part from what she expresses; she asserts being in oneness with her artworks. 

Deepali Raiththa | Blue Journey | Performance

Deepali Raiththa, graduate from Sir J J School of Art, majoring in Interior Design in 2010 is an optimist by her attitude and brims with zeal to perform and conclude her tasks. On the same grounds of reason, she pursued Post Baccalaureate in Visual Art during 2014-15, from San Francisco Institute of Art, CA, USA, exploring multifarious genres and exclusively developing interest in Performance Art. Execution of fourteen residential sites and numerous commercial spaces in Gujarat and Mumbai to her name through carrying forth her as Freelance professional, Deepali practices at her studio in Vapi, Gujarat. Through her performances and video installation , she is in the process to experience the momentary phenomena that is constantly changing.

Urvi Chheda | Untitled | Poly-urethane coating on Mild Steel | 24 x 23 x 13 in

Urvi Chheda graduate from Sir J J School of Art in 2010 in Metal Work, combines her schedule of research to her expression of sculptural installations. Interested avidly in history and research she has pursued Certificate course in Indian Aesthetics, Ancient Indian Arts and Sciences as well as Post Graduate Diploma in Comparative Mythology from University of Mumbai. Urvi practises at her space in the remote suburb of Nallasopara, Mumbai. Probing deeper in the mediums that the artist grasped from her learning   of  restoration, she fiddles with varied organic as well as inorganic material to emerge with sculptural practices that reverberate with the concepts that are innately relevant to life, living and the cohesion of matrix that conjoins them.

Perceptive Recitals, reflecting on the same grounds, brings forth paintings, sculptures as well as a performance that meanders in the region of 'now' and spontaneity with vigour and zeal. 

 by Urvi Chheda

The exhibition continues from 7th to 13th January at ArtGate Gallery, Churchgate, Mumbai.

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

“THE SEMPITERNALS” Celebrating creative bizarre in the time of economic slowdown

The very word sempiternal, which is a synonym of the term ‘eternal’ in a more contemporary and earthbound way in www.vocabulary.com, would be apt adjective for the artists of today who still dare to show their creations on a creative carnival as such despite the onslaught of ongoing economic slowdown. A serious question arises here that if the issue of economic slowdown cannot be taken easy in the context of marketing any product of everyday commodity then why it shouldn’t be a serious issue in art and a crucial concern for the art critics too whose role as salvager is of course expected in this difficult time when art ultimately as an aesthetic commodity suffers setback; because a friend in need is friend in deed. 

 “THE SEMPITERNALS” Group of artist at Art Gate Gallery in Mumbai-2015 

The present show “The Sempiternals” is to earmark the spontaneous stubbornness of today’s artists who with their bizarre grey-cell under the very constancy of art as a phenomenon of creative catalyst through the intermittent reactivity of mundane activity, takes up the charge of their self promotion on event of virtual divorce between art and its critics. And that is to commemorate artists’ very eternity in creating despite the gravest odds like existing commercial lows of art market and apprehensive promoters. By now we are aware that autonomy of the flux of art is like autonomy of natural blow of wind; both art and wind cannot be ceased by any consequential force; as both will find its lee-way in one way or other . This show is to celebrate the creative autonomy of today’s artists too who by their own right of karma and by the boon of post-modernism are enlightened enough to know that it is utter foolishness to wait for the art critics to born and show them the way in difficult time as such whereas today’s artists are the critics themselves. Thus they pave their own way to their destiny and the time conspires for their success. Down the ages artists as sempiternal existence have been witnessing intermittent manifestations caused by the changing time and space.

This Group Show is a confluence of seven such artists and erstwhile alter ego who despite their diverse hues of thought process meet to witness the present time offer here a spectacular rainbow of their creations. The result of their perennial witnessing is unusual of the usual, conspicuous from the common and bizarre of the mundane to be relished by the valued admirers. 

Artist Girdhar Gawda with Art lover at Art Gate Gallery- 2015

Girdhar Gawda is an epitome of balance between adoration of cultural tradition and sieved response to dubious novelty of the mundane as with his minimal colour yet deft lines if on the one hand he draws contemplation towards creative grandeur of Indian miniature painting while he withstands the blind emulations to visual influences on the other. 

Recent work  by Artist Girdhar Gawda at Art Gate Gallery- 2015

The very inspiring intricacy and depth in the medium and process of miniature painting had led him to the very roots of cultural ethos of Indian Miniature Paintings that transformed him permanently to devote himself to redefine its style as substance. The arresting compositions of his paintings themselves are self explanatory of why he has developed an immense interest in stories, poems, socio-cultural phrases and historical legends right from his childhood. The elated novelty of spatial dynamics of his pictures don’t lie for his approach towards those historical legends not as religious, superstitious stories but as priceless epics and a treasure house of wisdom.

Recent work by Manoj S Art Gate Gallery- Mumbai

When it comes to another dimension, art of Manoj S. manifests it in rather abstract manner. Manoj, in his sculptures, adroitly blends wood, stone and metal with an semi-abstract dialogue through their obdurateness and softness corresponding to exploration of volume, shape, mass and form. The culmination of all that is a fine visual statement about growth; germination of nature is quintessential of Manoj’s art and sensuous energy is the forerunning pun of his language. Manoj’s art is précis of inseparability of abstract from concrete manifesting the ‘abstract’ semantic of ‘representation’. A remarkable note that one might not ignore to make about his expression is that it is one of the best examples of visual dictions in sculptural abstract minimalism as in response to the ever growing cacophony and verbose of the today’s narration-savvy world. 

Recent work by Ramesh Kandagiri from New Delhi

Then the existence of energy takes rather cosmic action in Ramesh Kandagiri’s acrylic on multiple layer of rice paper pasted on canvas as according to him he paints the ‘act of experiencing’ of existence to an extent where both the ‘experience-r’ and ‘experienced’ are lost. For him abstraction doesn’t mean ‘no real’ or ‘devoid of representational forms’ but it means ‘more real’ rather…to the extent of ‘para-real’ which means intuitive ‘empirico-transcendental’ understanding of deeper realism beneath the surface towards the occult or the atomic element even. Ramesh sets himself to his self imposed voyage of revisiting abstraction in an equanimous zone in his own ‘innermost self’ between his own pulse and impulse as liberated from all established notions of abstraction. Ramesh’s uncanny pictorial space is not an embellished surface of a closed plane but ‘act of experiencing’ of infinite cosmic space rather with unpredictable momentum of energies which he attains through transcendental meditation on the ‘occurring in the instant’ during the conjunction of idea and medium. Here is where this Zen practitioner believes the ‘innermost self’ of an artist is transformed. 

Recent work by Rajasekhar Pendurthi

Rajasekhar P. is a brilliant example of how a positive time-travel towards an artist’s nostalgia can endow both essence and element to his thought and expression. Thus became the memoirs of Rajshekhar’s childhood his source of inspiration. His figures, be it men celebrating ‘cock-fight’, an introvert adolescent deeply engrossed in his thoughts, an old women vending fishes or three fishermen at work, apart from declaring his unparalleled territory of skills in rendering the corporeal reality yet humbly establishes the diligent care in handling his medium which ultimately is his personality trait. One will not disagree with the fact that the meticulous vision of the backdrop of his subjects plays a surrealistic role for his realistic figures; perhaps this is an open secret and strong undercurrent inherent in this silent visual narrator that alarm with premonition a breathtaking range of oeuvre might be released by his adroit hands in future. 

Recent work by Sandhya Shankar Patnaik

Sandhya explores her ‘feminine self’ through coeval incarnation in many individuals while sensuality becomes salient trait in terms of lucid chromatics as the metaphor of feminine grace as if being thawed up through chilly predicaments of feminine social identity. Thus her bright canvases speak about her elated self and her vivacious returns to her surroundings. She has a flair of exploiting the chromatic greys in combination with various chromatic hues to evince typical tenderness through meticulous colour texture; the calm process of doing this is typical of feminine resplendence. Sandhya’s compositions are though innocently simple however tickles deeper sensibilities. The human figures in her compositions whether it is a sitting sensuous-shy lassie, lovers in amorous state or a flamboyant next door damsel all seem to be delving into deep self absorption endeavouring to locate the self in various individuals.

Recent work by Karaka Venkat Rao

Venkat Rao’s pragmatic concerns about social life have inspired him to react to the environmental disasters caused by very human follies as he playfully draws his satire on the ongoing blind stylization of life with reference to techno-modernism. Venkat’s angst reaction to the human’s savage flaws has miraculously transformed his form into gargoyles; partly human and partly animal form. But his compassionate concerns to human have flipped his verdict on them turning them into gorgeous gargoyles rather; just unlike the Gothic horrific gargoyles. Metaphorically as if this compassionate artist has pardoned even their fatal flaws. However, well justified is his this conditional pardon with a lesser punishment to his gorgeous gargoyles that despite being sculptures they are positioned in a confined space; this is perhaps metaphorical of metropolitan human’s convoluted life. Often Venkat prefers arranging his sculptures even with no pedestals which certainly is intentional in order to share the viewer’s space. Thus a close relation is established between the sculptures and the viewers’ life. He uses materials like bamboo, paper, resin and fabric to construct his sculptures. Most interestingly he paints the sculpture giving it a semi-realistic appearance. But most of his methods can be viewed as an influence of sculptural forms of traditional Temple craft of Andhra Pradesh.

Rcent works by Vasant K. Velapuri

Vasant K. Velapuri’s sculptures depicts his journey towards himself; his struggle to realize the omnipresent within himself. Devotional path to self realization has influenced him and his sculptures. Experiments with various shapes and forms helped him depict the spiritual introspection and relate himself to the real by deviating from the unreal. The real-unreal dichotomy is so conspicuous in his sculptural assemblages as he juxtaposes the meticulously handled real-unreal form with day-to-day real devotional commodity. However his real-unreal dichotomy, which though has a devotional flavour yet projects arrestingly occult form, thus displays a spiritual-religious narrative often with portrait of sadhus (sages) in deep self absorbed trance. These creative bizarre collectively admit that if only art is ceased by an economic slowdown then it is not art but something else and not at all autonomous. Thus it is established that autonomy of art endows spontaneity to artists with a reward of position as “The Sempiternals”. 

By Artist Ramesh Kandagiri


Exhibition details: 23rd to 29th Dec 2015-11am to 7 pm

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

Hema, may your soul rest in peace. We shall miss you deeply.

Hema, may your soul rest in peace. We shall miss you deeply.

( copyright©anne maniglier)