Progressive
understanding of art is ‘Rupayatan’. And hence the past rules do not remain valid
in the present. The aesthetic perspective of art has revolutionized throughout
the years. The process of creating and decoding modern art has changed with
growing peculiar interests of the populace. It has acted as a catalyst for the
growth in the change in the aesthetic perspective of art.
The current
creative tendency is not decisive; it is more likely to keep changing with the
change in the aesthetic perspective of the populace. The inspiration is taken
from the daily life and when presented through art is highly illusorily. The
organization of pre-requisite knowledge, shapes and construction of subjects is
primarily conveyed in visual presentations. The paintings then can have varying
effect on the human mind. This phenomenon has lasted from the time of ancient
art to the changed modern art.
The principles in art which were once
considered inapt have been completely eradicated with the course of time. The
pure and unique thoughts emerging from the artist’s subconscious mind are
accountable for it. The individualistic thoughts and the artist’s perspective
as an individual about the subject, both physical and deductive are the
particular reasons for the same.
The obsession of beauty and crave for
innovations comes from the natural thinking process based on the right morality
denying the façade, is the tradition of visual interpretation of unnamed and
unlabelled form. This accepts the space. Increase in the form of art through
the process of colors, lines and understanding and the maturity of an artist are
the things which enhance the value of the art.
The absence of clothes does not define
nudity; it is originally the raw and pure state of nature. It is also a social
state. The meaning of nudity for us is in the subconscious state and not in the
conscious state of mind. This is not an attempt to change the statements of the
critic. There is similarity in the imaginative state and the existing state
hence there is no hiding the truth, it gets amplified.
The artist and his art is like the eye and
vision. What is seen is not always helpful for creative presentation; even if
this is inspired by our lives it is highly fictitious. It is a blend of
imagination and pre-requisite knowledge. It is illusorily and an extract of our
vision. Hence nudity does not require a canopy; it is in an oblique state. This
exhibition of paintings and sculptures emphasizes on strengthening the natural
instinct. A painting is exclusively visual, which originates from the
indigenous thoughts. A painting is the very representation of our thought
process. We would like to convey this message through this exhibition.
Text translate Santosh Sawant
Edit by Vinit Lawande
Art Blogazine
Pankaja JK (Founder)
All copyright by Prajakta 2017
RUPAYATAN GROUP SHOW
SALE & EXHIBITION at Art Gate Gallery, Mumbai
All Art lovers are most invited on 5th Jan 2018
at the Inauguration Ceremony of Amazing Recent Group show Artworks at Art Gate Gallery, Churchgate Mumbai 5th Jan 5:30 to 8pm 6th Jan to 11th Jan 2018, time : 12am(afternoon to 8pm night)
Paul Klee was a prolific Swiss and German artist best known for his
large body of work, influenced by cubism, expressionism and surrealism.
Paul Klee was born in Münchenbuchsee, Switzerland, on December 18,
1879. Klee participated in and was influenced by a range of artistic
movements, including surrealism, cubism and expressionism. He taught
art in Germany until 1933, when the National Socialists declared his
work indecent. The Klee family fled to Switzerland, where Paul Klee died
on June 29, 1940.
Paul Klee - image Wikipedia
Early Life
Paul Klee was born in Münchenbuchsee, Switzerland,
on December 18, 1879. The son of a music teacher, Klee was a talented
violinist, receiving an invitation to play with the Bern Music
Association at age 11.
As a teenager, Klee’s attention turned
from music to the visual arts. In 1898, he began studying at the Academy
of Fine Arts in Munich. By 1905, he had developed signature techniques,
including drawing with a needle on a blackened pane of glass. Between
1903 and 1905, he completed a set of etchings called Inventions that would be his first exhibited works.
Rise to Prominence
In 1906,
Klee married Bavarian pianist Lily Stumpf. The couple had a son, Felix
Paul. Klee’s artwork progressed slowly for the next five years. In 1910,
he had his first solo exhibition in Bern, which subsequently traveled
to three Swiss cities.
In January 1911, Klee met art critic
Alfred Kubin, who introduced him to artists and critics. That winter,
Klee joined the editorial team of the journal Der Blaue Reiter,
co-founded by Franz Marc and Wassily Kandinsky. He began working on
color experiments in watercolors and landscapes, including the painting In the Quarry.
Klee’s
artistic breakthrough came in 1914, after a trip to Tunisia. Inspired
by the light in Tunis, Klee began to delve into abstract art. Returning
to Munich, Klee painted his first pure abstract, In the Style of Kairouan, composed of colored rectangles and circles.
Klee’s
work evolved during World War I, particularly following the deaths of
his friends Auguste Macke and Franz Marc. Klee created several
pen-and-ink lithographs, including Death for the Idea, in reaction to this loss. In 1916, he joined the German army, painting camouflage on airplanes and working as a clerk.
By
1917, art critics began to classify Klee as one of the best young
German artists. A three-year contract with dealer Hans Goltz brought
exposure as well as commercial success.
Klee taught at the
Bauhaus from 1921 to 1931, alongside his friend Kandinsky. In 1923,
Kandinsky and Klee formed the Blue Four with two other artists, Alexej
von Jawlensky and Lyonel Feininger, and toured the United States to
lecture and exhibit work. Klee had his first exhibits in Paris around
this time, finding favor with the French surrealists.
Klee began
teaching at Dusseldorf Academy in 1931. Two years later, he was fired
under Nazi rule. The Klee family moved to Switzerland in late 1933. Klee
was at the peak of his creative output during this tumultuous period.
He produced nearly 500 works in a single year and created Ad Parnassum, widely considered to be his masterpiece.
Roshan Chhabria, Jagganath, Priyasri Patodia, Lokesh Khodke and Shruti Ramalingaiah
The ever growing things around us amount to occupy our lives. Objects, commodity, machine, article, gadget, setup, accessory, belonging, instrument, setting, material- terms to define today’s social life accumulate, excess, correlate. They govern over our lives. These profusions embody in subjectivities and individual’s environment- yet, connects between objects and human.
Machines are everywhere, these days but, less visible. They don’t come predominant in size- a compact and smooth surface. They are evolving and overlapping. Complex like all other tools. Mishap might distract or collapse the apparatus; yet, they continue to pivot on stories to hover in our lives.
The exhibition stresses on the feature of hinge. Quite literally a minuscule part of machine or tool- rather, an anchor to unleash a cause for argument and condition. Dialectically, a transforming factor of a situation, twist in a moment, a character or fulcrum of a play, key that actuates to re-surface between physical lived spaces. Dynamics this mechanism has; in objects of our everyday to how we navigate and how we perform ritual, intact setting as well as temporal. An agency cannot go overlooked. The hinge, can be a thing as well a method allowing oscillation between things: to derive possibilities and probe a stereotype, belief, ideal and real, reality and truth.
The exhibition titled Hinge gather four artists- Digbijayee Khatua, Diptej Vernekar, Lokesh Khodke and Roshan Chabbaria whose practice and approaches they have adopted responds to pivot off at varied ends between social context and personal spaces in their representation. The works in this exhibition challenge manifold values, obvious unrest that align narratives of momentary deposits.
The exhibition is curated by Shruti Ramlingaiah, an independent Curator based in Mumbai. Her curatorial interest lies at culture in social context, material culture and spaces. She has written text for three-artists show- Lay in midst of Local, Gallery OED (2016) and an essay to ARTIndia magazine in 2017. In recent, she has facilitated group-show titled Again and yet Again at the Gallery OED (2017). She was curator for the second edition of Students’ Biennale an initiative of Kochi Biennale Foundation, 2016-2017. She studied Museology from MS University, Baroda; holds a Master’s degree in Art History and Visual Studies, Hyderabad University.
NOW CREATE YOUR IDENTITY , INTRODUCE YOURSELF IN
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I
am Premchand. I am very happy to present my work though this small book of
paintings. I cannot put my thoughts in words, but you can read my paintings
like a novel. I have painted various aspects of thoughts and forms as and when
they stimulated my mind. They are my views, observations and conclusions in
visual form. Variation in human nature teaches me to view the world through
different angles. My paintings may not always appeal to every individual psych,
though an intuitive mind would read the thoughts behind every painting, I hope
to bring in good energy and contentment through visual appeal. My work will
meet its ultimate destiny only if it has a deep impact on our life.
That
is why I quote “My painting is better than sex…” – Tathi Premchand.
(Tathi Premchand studio- 2018)
Character,
nature or simple colors symbolizing the psyche of a person, all find their way
in my art. Being observant has helped me to add color to the feelings. Charged
with the passion for painting. I feel myself grow with each and every work that
I undertake. I wish to share to my feelings with the world, so I have brought
my art into the arena where all art lovers could express their world by possessing
the selected ones.
Tathi
Premchand.
The
sketches of the different aspects of the snail’s life are the metaphor of human
life. In ‘Run from home’ a snail is seen leaving itshells. Just as the shell of
a snail is the protective cover and a heaven for the tender and helpless life
within, so also a fetus that starts growing in the womb of mother is safe and
secure till it leaves the wombs. Thereafter life is full of struggle and
dangers. Cautious steps and conscious efforts to be safe and secure slow down
the pace of life. Most of the sketches representing the pattern of life are in
black and white’ cause every individual adds color to life only through
confrontation of various experiences. The life moves on, without being aware of
its destination. The end is unavoidable and it’s different every
individual. The only similarity among
all is the purity at the time of birth untouched by character pollutant forward
movement through high and lows and then, the attainment of eternity.
Out
of many characters, the one that forms the large part of his work is Woman. She
presented in various facets. The books and physical presentation of these women
project them as indomitable personalities. He discards of the view of the
woman being weak and dependent. In nude
paintings, she is not shy and awkward but proud, and confident who is well
aware of her sensuality and power, also capable of handling people
affectionately without scruple. ‘I am not nude’ is the attitude that oozes from
every part of her body and gesture. ‘A
woman with knife’ is an excellent work of her of her being sweet poison
expressing most of her sexual whimps for selfish motive.
Tathi Premchand Studio
Right
from the birth bosom is inseparable from life itself, be they human
beings or animals, it has a magical, soothing charm on young and old. The
paintings are successful in electrifying and clearly portray various feelings
such as motherly care, sensuality, pride confidence and so on.
Premchand also presents the bleak side of woman’s
nature. Her goals, aspirations, withes and desires all find way in his work.
‘Seven Desires’ portray a woman who always tries to find all those qualities in
men, which she expects from her life partner. She fails to have that perfection
in any man whom she meets. She has many friends, with a unique quality that she
expects but the man of her dream always remain a myth. The prince on white
horse represents that macho man whom she never meets in her lifetime. Her
unfulfilled desire does not fight against her fate instead compromise with
whatever she has.
A woman is demanding cooperative and
caring, Along with these traits she nurtures self-pride which can be clearly
seen on the face of a pregnant woman. Motherhood is a very emotional and
possessive period in life of everywoman blessed with the power to bring A life
in this world. In ‘Me and Mother’ the adorable to-be mother is full of love and
care for the unseen child, who comfortably grows in her womb. She caresses her
unborn child. The thought of new life engulfs her with the sense of prosperity.
Her
apprehensive nature does not go unnoticed. The sudden changes in her mood,
attitude towards life that change with circumstances are captures in paintings
like ‘Cloud and Rain ‘and ‘First Rain.’ The posture of a girl depicts her
longing and unspoken desires. The nature of a woman is always unpredictable
still adorable in spite of all odds.
Man
and woman together make the world. The union is a must for the cycle of the
life to progress. This presentation is made through attractive figures and
alluring colors. The contradictions and similarities are handled subtly.
Throughout this series one observes that the male is more beautiful. Woman is
sensuous. Premchand observes that male species is more attractive than their
female counterparts, giving us the instances of the Peacock, Lion, Cock etc.
The Peacock is a recurring image and
color blue is associated with male image to add to the beauty of the concept.
The simple strokes are deliberately used to avoid any unfathomable feelings.
Nudity and simplicity are the soul of these paintings. Male’s tall, robust and attractive self and
women’s sensuality, always seen attracting and repelling from each other, like two blades are separated they become
useless, thus man and woman depend on each other thought out their life.
There is also an urge for superiority
and domination over each other. The competition continues. As shown in
‘Imitation’ a woman and man are in the Shirhasan position. But as we observe,
we find ourselves wondering at the posture of woman. It seems disturbing; everywhere
a woman is expected to follow the rules set for her. If she tries to complete
with man she faces lot of criticism. He progresses is never appreciated and her
character is always doubted in the process. Premchand is totally against this
system of thought. He is not a feminist but believes in equality of sex. But
competition is not always fruitful. Nature has carved both man and woman with a
particular purpose and any attempt to go against it has a vulgar and awkward
result.
Cruel and Cruelty brings alive
various experiences that are lavish, livid, dumb and sometimes horrifying,
“Cruel and cruelty” is one each topic that he deals with frankness, without
being biased about the facts. Some paintings depict lust in animal form. The brutality of human on weaker species of
animals, the sacrifice of innocent animals is boldly painted.
In ‘Human Conservation’ a man holds a
rabbit in his hand to feed the partner. This painting was made when partners
attacked human in residential zones. The partner’s attack on human beings was
tacked by providing them live animals for food. This is a cruel act on the part
of human beings. To save himself and his children, man very brutally sacrifices
other innocent living beings.
In this series we are confronted with
innovative idea that taps our minds and we are bound to reconsider age-old
notions. Not only the in the human act against the animals but even man’s
atrocities against his fellow beings do not go unnoticed by the artist. An
animal kills another animal only to fulfill its basic need, whereas man kills
man for selfish motives and material gains. In historywe have the instance of
well-known personalities being assassinated. Their thoughts to go against the
set of rules stirred the minds of oppressors to such an extent that they were assassinated.
Jesus too was no exception.
‘You and us’ and ‘Any answer please!”
speaks of recent war between America and Iraq and the brutality the followed.
The false pride and cruel egos are responsible for havoc in the world,
disturbing the peaceful existence.
What
is the perfect way to lead a life? If nothing is permanent then why is there a
struggle for possession? Life is never
like we want it to be.
Premchand
patronizes Buddha’s disciple Monk Ananda who is full of such queries, and presents the stories where lord Buddha
fulfills his queries, and presents the stories where Lord Buddha fulfills his
queries by using illustration from real life. Though of ‘possession’ and
dignified ‘self’ is the reason for our suffering. It is absolutely necessary have
freedom from the vices of longing, greed and possessions paintings sensualizes
the spirit sensualize the spirituality.
There are few elements and concentration is on the presentation of
meditative effect. Brown, black and white are the basic colors used,
symbolizing Nothingness. The state where
every thought becomes blank and mind reaches eternity. The beauty and the depth
of subject are intensified with the mystic style adopted specially for this
series. The faces are blurred and use of flowing robes act as catalyst for
thoughts ideology portrayed. In ‘Play of Shadow of the moon. Along with the
moon’s shadow, only me monk’s shadow is seen. The other represents the
attainment of eternity, thus the physical existence is lost, spiritually reign.
Attachment of the life often hinders us from path of truth. The paintings with
a nail and scissor represent the sharp edges of want and attachment, which
refrainus from achieving the ultimate destination of Nirvana. Buddha had always
cautioned his discipline against blindly following what he said. Following
one’s mind crucial, since it’s the mind, this guides us in our action. In ‘The
wall’, the wall is nothing but our ego, which has to be transcended for the
freedom from materialistic existence and enter the world of eternity.
Tahi Premchand File photo 1992
As confessed by the artist himself, his paintings are
not just showpieces but are thoughts to ponder over. The simple forms and
images of common things are pleasing to the eye yet speak of rebellion. As
shown in ‘Mouth wide open’ three bowls of different size present the unborn.
The technological and scientific development has made cloning possible. Isn’t
it a challenge to nature?
Very often nature proves itself stronger than any
other force. Our development and effort prove useless in case of changing
seasons, earthquakes, tidal waves and volcanic eruptions. Mother Nature has its
own way of showing it true force, for good or bad. As in “Think twice’, a
vulture is shown as a messenger of peace. It is true that vulture does not kill,
but consumes the dead body. Vultures wait patiently till the living beings die
before consuming them. Thus it is neither harmful nor cruel. For the artist
nothing is useless or unwanted in nature. It is wrong to categorize any natural
creation as good or bad. Everything in nature works in harmony each other.
As we observe these paintings, we find variation in
theme and style. Each painting is highly sensitive and meticulously presented.
Some of them are painted in a grave and sarcastic manner and some are humorous
too.
This and that’ presents the need of water, for some
water is a luxury and for others it fulfills the basic needs. While presenting
the contradiction in life, the need for food is highlighted in ‘Food’ where a
man pulls a cart, balancing the earthen pot on his head and a very rich and
healthy man enjoys the ride in the concerned about the cart puller. The very
existence of living being is nothing but an endless rebel to achieve the
unachievable.
“It is not possible to step twice in the same river.”
–Heraclitus.
Throughout his career TathiPremchand proves it time
and gain. He refuses his work to be categorized in any particular “ism ‘but is
a blend of different genres. There is variety in his style. His paintings is
equal to a navel or a book full of thoughts, where it stirs the every core of
one’s being. The end result is excellent visual forms with deep insight into
the matter.
Experimenting with different modes, styles and medium
from mythology to modern science, from lust to love, from known to unknown,
from fact to fiction, man and woman all are very well depicted in his
paintings.
This
photography exhibition, in Mumbai's premier art space, shares some of
the most iconic images from the so I asked them to smile project.
So I asked them to smile (soiaskedthemtosmile.com) is a popular ongoing
international photography project that explores the smiles of strangers. This
December 20, for the first time, it comes off the screen and into the Jehangir Art
gallery. As a project incubated in Mumbai, India, it was important to share it
here first. So I asked them to smile has been
received in dozens of languages and featured in Better Photography
Magazine, The Times of India, Hindustan Times, Huffington Post, Buzzfeed,
Design Taxi, The Daily Mail, Bento, and National Geographic Poland.
BEING ‘HER’
She sits, crouched, pensive and lost in her thoughts or talks in hushed whispers to
her companions, almost inaudible, cocooned in her space. Swati Sabale’s present
body of paintings revolve around womanhood, a theme which the artist has been
preoccupied for a while now. In solitude or in groups, the women appear in varied
situations, offering a slice of their feminine world filled with its dichotomies of
strengths and insecurities, highs and lows, pleasures and pain, deference and
insinuations.
Swati fleshes out her characters from her surroundings, women on
board the Mumbai local train, or a remote hamlet near Pune, her relatives and
friends, her own journey into adulthood, encounters with the feminine gender
across multiple strata of Indian society, and even recent social and political events
that have made headlines.
The voluminous figures and heads are always encased in a painterly grid, which
the artist believes to play both formal and metaphorical role, providing for a
structure and representing the boundaries of the feminine domain. The woman is
constantly warned not to overstep these limits, though, in changing times, the
woman of today is ‘given’ more freedom. Drawn with an assured hand which
reflects Swati’s predilection for portraiture, the women with half closed eyes, and
drooping shoulders seem hesitant to share their very private world. She has the
fortitude to seek sustenance and joy within the limits of the demarcations,
balancing her multifarious roles as a wife, mother, daughter in a male chauvinist
society.
The artist prepares the canvas surfaces by dripping, dabbing, smearing and even
flinging analogues colour hues. The flow of acrylic colours, applied in diaphanous
overlays, augments in building up a sense of mystery and ambiguity. Questions are
raised in the viewer’s mind- Are these women happy? Are they content? What
exactly bothers them? For Swati, life is an enormous canvas of experiences which
are intertwined complicatedly, unpredictable and absurd, yet purposeful and
alluring and her paintings reflect these perspectives.
