Saturday, 2 December 2017
Friday, 24 November 2017
CARNAL MORPHOSIS- A MYSTRY, MAGIC AND MESMERISER. - Pankaja JK
My self Grishma Pankaj Mali was bron at Kurundwada,
on August 11, 1996 but my childhood was spent at my native place Ichalkaranji.
I was always passionate about painting right from childhood and at last after
10thstd, I got my freedom to nurture my passion of painting and I took
steps towards development of my art and for that I took admission in Pune’s
‘Kala Mahavidyalaya’.
Painting has its own individual
existence and life. Artist struggles to input the emotions; give a particular
form to each creation. Likewise I too painted various forms in my paintings,
but my inner spontaneous desire germinated as the creator of erotic images or
sexually provoked bodily reactions, I began to probe deeply into this subject
to know more about it. I tried to bind sensitive and voluminous lines in my
drawing by studying and cogitation of source code of bodily enhancement and
development, its rhythm, movement, harmony, muscles and arteries. My creations appear
to express my views. If ever I think of any relevant medium for my creations
then I feel I am only the closest one to my paintings because my thoughts,
incidences that happen around me and my experiences form the subject of my
work. Environs around me prove as a booster to my subject. Also, my friend Kapil
Alaskar has been helping me in every way. While discussing work, we both always
agree with each other’s views. Since, I have always trodden on the path that he
did, stepped on his foot marks, he has made me understand many important things.
Many a times he became my comrade, wherever the need be, he becomes my Guru
(teacher). And he is always there with me to live and make me enjoy bounding and art.
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| Recent Digital work by Grishma Mali |
I create my artwork by taking into
consideration the fact that a body can express so much by gesticulating and
even by remaining potential. I keep this theory in my mind and therefore my
artwork changes according to the changes in my life. The routine life and its
experience was not enough for enhancing my subject, so I had to create more
romantic temper in myself and I realized that showing erotic or romantic images
gives liveliness to the creation. This makes the observer understand my images
and my vibes stimulate him/her. This
effect of liveliness started being effective only after the live experiences of
reality poured in the artworks.
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| Recent Digital work by Grishma Mali |
Nudity and romance in my paintings and
artistic advances cannot be adored by applying scholarly mind to understand
them, but can be appreciated considering it important as an individual
experience. Its taste, touch and essence have to be relished gently. My
paintings shape up naturally by savoring this taste.
 |
| Recent Digital work by Grishma Mali |
As I progressed in developing my
subject, I could feel variations in the images, in the sense vision was
developing to search and find clitoris in the painting. Along with it, the
experiments done on myself made me use images of my legs because there were and
are movements in it and by amalgamating some fruits and their texture I created
a human body and thus, formed my images. There is one common association and
that is, the body fuzz or hair on the body, which is common between the both,
human body and fruits. This is the only common association in my paintings.
As I felt the need to be different, in
some images I presented male and female in individual romantic mood and
gestures to enrich its beauty. Some lines or images in these paintings can also
be presumed as my own feelings.
Pankaja JK
Art Blogazine.com
Wednesday, 22 November 2017
Wednesday, 15 November 2017
Prof. Vishwanath Sabale has a vision to carry these impressions with his comments through his paintings.
There are lot of metamorphic structures in nature around us that are being destroyed rapidly. Being the Dean, Sir J. J. School of Art and a sensitive, mature landscape painter, Prof. Vishwanath Sabale has a vision to carry these impressions with his comments through his paintings.
The mountain range of the Western Ghats is a belt of basalt rock, which has the tendency of being etched upon by sea water. This results in circular pot-like contours being formed in Harihareshwar and around. These natural forms in basalt rocks with flora and fauna fascinates a nature lover like Prof. Sabale, inspiring him to paint them in a simplified manner. He cleverly captures the ethos with unusual shades of blues and fresh greens, sometimes with small quantity of yellows, on canvas and paper with a number of transparent layers of pigment.
Being a nature lover, he has travelled extensively in NaneGhat, MaalshejGhat, Bheemashankar and Junner regions. All these areas are enriched with forts, hilltops, colourful trees with attractive forms and a serene solitude that is the perfect foil for a creative soul. The artist is beguiled to put brush to canvas to capture the ethereal and the real.
Huge rock-cut, steep hillsides, valleys and nature’s ravages turn into beautiful, soul-stirring imagery as Sabale applies acrylic colours as watercolour washes to obtain the transparency of the delicate colour-palette of nature.
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| Recent work by Vishwanath Sabale |
Being a nature lover, he has travelled extensively in NaneGhat, MaalshejGhat, Bheemashankar and Junner regions. All these areas are enriched with forts, hilltops, colourful trees with attractive forms and a serene solitude that is the perfect foil for a creative soul. The artist is beguiled to put brush to canvas to capture the ethereal and the real.
Huge rock-cut, steep hillsides, valleys and nature’s ravages turn into beautiful, soul-stirring imagery as Sabale applies acrylic colours as watercolour washes to obtain the transparency of the delicate colour-palette of nature.
 |
| Recent work by Vishwanath Sabale |
He laments the rise of brutal changes in nature – especially due to rampant urbanisation. The felling of trees, destruction of parks… to make way for man-made structures manifests in some of his art as he portrays the changing profile of metros via vivid textures attuned to the relevance of the landscape-like forms. Nature’s devastation for and by human indulgence results in chaos and unrest in human living. This is his concern as a painter and he depicts this very pressing concern, making an appeal through his paintings to save the environment and keep it intact.
Prof. Sabale’sArchaeographs are the visual form of such relationships with the remains of the past – that induce nostalgia; and still maintain the same interests in the modern world with concern. All his works are powerful painterly reactions to the surrounds.
Text by
Prof. Sabale’sArchaeographs are the visual form of such relationships with the remains of the past – that induce nostalgia; and still maintain the same interests in the modern world with concern. All his works are powerful painterly reactions to the surrounds.
Text by
SHRIRAM KHADILKAR.
Pin Poste : NGMA: Mumbai
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| National Gallery of Modern Art, Ministry of Culture, Govt. of India in collaboration with Art Musings cordially invite you to a book release on "Sakti Burman's Art" by Ranjit Hoskote on 18th Nov, 2017 at NGMA Auditorium, 2nd floor, at 6:00 pm. |
Sunday, 12 November 2017
Friday, 10 November 2017
Pin Poster : Mumbai Art Gate Gallery
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| Art Gate Gallery 115, Jamshedji Tata Road, 1st Floor, Above Satyam Collection, Next to Eros Cinema, Churchgate, Mumbai, India 400020 ... #artgategallery #tathipremchand #srabanisarkar |
Wednesday, 11 October 2017
His performance is relative and real and ongoing. - Text by Sumeshwar Sharma
TO LIVE TO PAINT TO LIVE
Pisurwo Jitendra Suralkar | Solo
Curated by Niccolò Moscatelli
Clark House Initiative Project Room
Preview: 12th October 2017
6 pm – 9.30 pm
Exhibition continues until 6th November 2017
Open all days from 11am – 7pm, Leaving Mondays.
Looking at Pisurwo’s work, the first thing we notice is the omnipresence of the human face. The more naturalistic works and the portraits, practiced by the artist since the beginning of his career until now - and probably forever - give us the entering point in his world.
His way of engaging with the portrait, which could be wrongfully read as a classical attitude, is very much influenced by the years passed as a street portraitist, by all the constraints and the context of the job: the drawing has to be fast, the result must be resembling and satisfying for the subject/buyer. There is no study of the psychology of the character, no gaze through his mind and soul, just his blank appearance - just Pisurwo’s swift and secure lines. Nothing but pure drawing. And when this manner is freed by those constrains, it becomes the medium for the real content of his portraits and naturalistic sketches: his relationship with the characters. His wife, his children, his family, the professors that helped him, the painters that inspired him, everyone is there in a familiar and intimate universe held by Pisurwo’s care and will to honour them. His numerous sketchbooks are filled to the brim with drawings, faces, bodies, and always his signature, that he marks on the paper as a real creative act, along with the date and, strangely enough, the time at which the sketch was taken. This seemingly irrelevant detail demonstrates that for Pisurwo drawing is more then the simple registration of world around him, it is the immediate translation of that world, the almost instantaneous transcription of forms. Simply put, sketching has become one with the act of seeing, his own way of perceiving reality.
In his studio near the Ajanta caves, portraits are not the only
Pisurwo’s occupation. Next to this mystical site, Pisurwo seems to be
visited be all sorts of images, or even, of spirits. Yakshinis and
yakshas, kings and queens and mythological figures invade his canvases
in a dreamlike state that echoes cubist aesthetics and M.F.Hussein work.
An immense cosmogony unravels before us as we witness the spirits
suffer, rejoice, engage in dialogue or in sexual acts; we see them merge
and overcome duality. As an obsessively repeated facial pattern, they
saturate the page or the canvas, leaving nothing except their presence
for us to see. From the smallest drawing to the largest canvas, this
horror vacui could come from his relation and incessant observation of
the Ajanta cave paintings themselves, evolved and transformed through
Pisurwo’s sensibility. This overflowing of signs, lines, marks and
gestures is profoundly characteristic of his work. Plates, family
photos, house walls, insignificant objects, leafs, stones and even a
dead cockroach, nothing is spared, everything is a suitable support for
his magmatic creativity: an all-over that could cover hills, mountains,
us all and the entire world.
A personal quest for meaning that, by engulfing everything around him, engages us in a journey beyond reality itself.
Painting as breathing,
drawing as living,
art as a way of being.
- Text by Niccolò Moscatelli
One Wednesday afternoon in 2003, as I walked to the Goethe Insitut at Max Muller Bhavan, Kala Ghoda, Bombay, on the pavement art gallery a young man was drawing fat black ink stokes of cubist renditions. Those portraits were immediately pleasing and curiosity made me strike a conversation with Pisurwo Jitendra Suralkar. I was 20 and had started a gallery in the apartment of a distant relative; it still exists in a larger space and concentrates on the decorative art scene. But somehow among the many exhibition happenings I curated in her space Pisurwo's drawing would form part of the exhibitions. Soon I left for France, we lost in touch until we reconnected through Facebook in 2015.
Pisurwo is a performance, or as the art critic Abhijeet Tamhane would
say a retrospective in life. Pisurwo stands for the initials of his
parent’s names, MF Hussain and Picasso. Pisurwo will make you accept
and understand that he is the living incarnation of Picasso and Hussain,
its rightful inheritor and for good reasons. I haven't met an artist
who has had an independent view on life more vehemently defended if
questioned than Pisurwo. He had been one of the founders of the Street
Art Gallery at Kala Ghoda initiated by an artist Shenoy and the
municipal commissioner to help poor artists who could not afford the
rent of the Jehangir Art Gallery. A motley group of men and women would
then organise shows on the street on metal hangars largely producing
art for tourists and passerby aficionados. But Pisurwo soon rebelled at
the easily peddled aesthetic that was introduced as clause to
membership.
He is a loner, born into family of cultivators on a
hill above the caves of Ajanta, Buddhist Caves that date from 2nd
Century BCE he studied in a local art school that was run by the
surrealist painter Gulzar Gawali. He lives in a distant suburb of
Shahad, in the Thane district, and since 2015 has been Clark House's
warhorse, for Pisurwo is the embodiment of our energy and the quest for
collective emancipation. Pisurwo does not shy away from his ambition to
break through dungeon of misrepresentation and inaccessibility. His
performance is relative and real and ongoing.
Paris 2017
Preview: 12th October 2017
6 pm – 9.30 pm
Exhibition continues until 6th November 2017
Open all days from 11am – 7pm, Leaving Mondays.
Looking at Pisurwo’s work, the first thing we notice is the omnipresence of the human face. The more naturalistic works and the portraits, practiced by the artist since the beginning of his career until now - and probably forever - give us the entering point in his world.
His way of engaging with the portrait, which could be wrongfully read as a classical attitude, is very much influenced by the years passed as a street portraitist, by all the constraints and the context of the job: the drawing has to be fast, the result must be resembling and satisfying for the subject/buyer. There is no study of the psychology of the character, no gaze through his mind and soul, just his blank appearance - just Pisurwo’s swift and secure lines. Nothing but pure drawing. And when this manner is freed by those constrains, it becomes the medium for the real content of his portraits and naturalistic sketches: his relationship with the characters. His wife, his children, his family, the professors that helped him, the painters that inspired him, everyone is there in a familiar and intimate universe held by Pisurwo’s care and will to honour them. His numerous sketchbooks are filled to the brim with drawings, faces, bodies, and always his signature, that he marks on the paper as a real creative act, along with the date and, strangely enough, the time at which the sketch was taken. This seemingly irrelevant detail demonstrates that for Pisurwo drawing is more then the simple registration of world around him, it is the immediate translation of that world, the almost instantaneous transcription of forms. Simply put, sketching has become one with the act of seeing, his own way of perceiving reality.
A personal quest for meaning that, by engulfing everything around him, engages us in a journey beyond reality itself.
Painting as breathing,
drawing as living,
art as a way of being.
- Text by Niccolò Moscatelli
One Wednesday afternoon in 2003, as I walked to the Goethe Insitut at Max Muller Bhavan, Kala Ghoda, Bombay, on the pavement art gallery a young man was drawing fat black ink stokes of cubist renditions. Those portraits were immediately pleasing and curiosity made me strike a conversation with Pisurwo Jitendra Suralkar. I was 20 and had started a gallery in the apartment of a distant relative; it still exists in a larger space and concentrates on the decorative art scene. But somehow among the many exhibition happenings I curated in her space Pisurwo's drawing would form part of the exhibitions. Soon I left for France, we lost in touch until we reconnected through Facebook in 2015.
- Text by Sumeshwar Sharma
Pisurwo Jitendra Suralkar
 |
| TO LIVE TO PAINT TO LIVE Pisurwo Jitendra Suralkar | Solo Curated by Niccolò Moscatelli Clark House Initiative Project Room Preview: 12th October 2017 6 pm – 9.30 pm Exhibition continues until 6th November 2017 Open all days from 11am – 7pm, Leaving Mondays. |
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