My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work.

My drawing books are not showpieces. You cannot decorate your drawing room to make it look beautiful, but you can decorate your mind with it to make your body beautiful.

Artist: Tathi Premchand

Most of my time is spent in traveling by local trains in Mumbai. I prefer it to any other mode of traveling. It is the institute for me. Thousands of minds brush with each other every single moment. People have their own news, views, opinions, reactions, sometimes resulting in mass appeal. I can view the emotional and practical reaction of the fellow citizens by interacting with them and I think they are all creative minds and provide lot of essence to my creation. I see a person trading in vegetables or scraps has more perfect knowledge of economics and politics of the world. He doesn't need a degree or big fat books to update his knowledge; the everyday struggle is guide for him. That's something different which you find only in local trains. It also represents mini India with its clashes and unity projected from time to time. People converse and argue as if discussing the issue in the world conference.

Variation is but natural in my paintings. Just as Heraclitus had rightly said, ‘It is not possible to step twice in the same river.’ My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. Painting is not just passion for me; it is a part of my life. I paint when I get stimulated to do so. There are times when for days together I do not paint at all.

I gradually was introduced to Galileo, Heraclitus, Osho, Mirza Galib, Kabir, and Lao Tuz and their lives. Their philosophies have greater impact on my work and my self being. Pablo Picasso is great artist; Though his work has good impact on my life, but it does not influence my work. I cannot even follow foot step of my own work. 

Pankakja JK -2005

Publish first at www.artblogazine.com

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@nippongallery @tathipremchandstudio

Sincerely from 2005 + Drawing Books by Tathi Premchand

Preview Night: 31st Jan 2023, Time: 6 to 10pm 

31st Jan  to 28 th Feb 2023   

RSVP: Visitors by appointment only

"Please respond", to require confirmation of an invitation.

NIPPON

30/32, 2nd Floor, Deval Chambers,

Nanabhai Lane, Flora Fountain, Fort,

Mumbai – 400 001, India.

The Cosmos Flux

 

Sandesh Khule

The strength of Sandesh Khule’s paintings resides first and foremost in their self-containment. That insularity is in part a function of their proportions. They invoke the feeling of being bastion islands in the flux of fashion, knowing full well that their own consummate stylishness is one of the reasons they so successfully resist external pressures. Khule knows that the dynamic sturdiness of an image is wholly a product of the rigor of its internal armatures in tension with its outer boundaries. The spare pictorial structures strictly observe that rule, whether they consist of visibly locked in matrices or of frameworks whose joinery is incompletely articulated but palpably considered throughout. That is, grids in which sections may suddenly drop without viewers ever losing their bearings or the overall framework of the composition imploding into disjunctive fragments. Moreover, consistent with his otherwise divergent purpose he is just as muscular. And the capacity to absorb counter forces imbues every dexterous line he traces.  

He locates the sublime not in vast baroque volumes and polychrome plateaus but in zones that are close to hand, intimate zones where predominantly close valued hues are lit up by flashes of color as lightning bolts illuminate the desert at dusk or neon signage sparks in the rain along vacant thoroughfares at the urban margins of landscape. The woks thus serve as sensations one has had in the real world that are evoked Khule’s experience of made up, abstract world. For in the final analysis such correspondences and associations draw us to otherwise unfamiliar images and they continually discharge their poetic stimulus long after we have absorbed all that is fresh and distinctive about them.  

Khule does all this within the physical confines of his chosen formats, grasping that those voluntary physical constraints release rather than bottle up his gift for invention. His early works hewed towards severe minimalist strains of abstraction; however Khule is not an ism-obsessed artist at any level. Then came a phase of subdued but recognizably dazzle in which the oblique was pitted against the square off, and cool acid greens and blues were flickering juxtaposed to off key oranges and bright reds, pinks or to earth or flesh tones masquerading as tints of a more aggressive decorative or cosmetic order. In both bodies of work, pigment went down matte and flat. Lately there have been disturbances in that once uniformly inflected painterly field while gray, slate blue, moss green, deep pumpkin, maroon have become more common. In broad expanses brush marks have started to show, agitating everything in their vicinity or reinforcing our sense of the relative fixity of those elements in which brush strokes have been entirely subordinated like tides washing up on breakwaters, in a sense of aquatic metaphors. With these developments Khule reminds us that he issues from a long tradition of gesturalism and the die cut bars of pigment should be read in terms of how they thrust into and configure the comparative emptiness surrounding them, although some have monochrome backgrounds felt so solid or looked so much like criss-crossed foregrounds.

It is with respect to this ability to give subtle moves dramatic accents and to make little pictures register with the impact of large ones that Khule’s work bears an affinity of deceptive modesty. Such a conviction derives from something intrinsic in his work. That something, contrary to first impressions, is an immodest ambition specifically the drive to create uniquely memorable images, one that nevertheless recognizes the dangers of over statement and values the virtues of what may seem to be an understatement until viewers have had a chance to re-gauge absurdly dilated sensibilities and bring them back into the sharp focus required by thoroughly considered, completely realized painting of every scale. Right now doing the right thing favors compression and decisiveness over grandiosity and approximation, over the supersized and the generic but excessively finished. Khule has come down on the side of making things that could be no other size and no other way. Nor need they be to satisfy those who care to pay attention. The beauty, common to all of the paintings, is that the shifts, when located, are as much felt as they are measured. There is a precision here that does not exclude either intellect or sensual pleasure. Neither of these attributes is reduced because of the presence of the other; on the contrary, they combine to enhance each other. His paintings are promises made with full understanding of the stakes and are promises kept, one by one by one. 

- Abhijeet Gondkar 2023 

My visual compositions ‘Second Self’ speak about our shadows that are a constant reminders of who we are. No matter what we do, where we go, our shadow always remains true to us.

  

Artist: Trupti Joshi

“Second Self” Paintings Exhibition by Contemporary artist Trupti Joshi in Jehangir,Life’s experiences and impressions left by all that happens around us continues to inspire my artistic journey.

My visual compositions ‘Second Self’ speak about our shadows that are a constant reminders of who we are. No matter what we do, where we go, our shadow always remains true to us. 

On an otherwise blank canvas, they add a dimension unknown to the subject. At times, what we are is reflected by the shadow that often creates an intriguing dimension, representing us in the unpredictable form (s) /strengths in response to a certain situation or stimuli.

This particular series appreciates a  deep connection with self whilst depicting forms highlighted with textures and strokes. In this series, pots symbolise humans  and shadows are their inner self and strengths.

In my paintings, shadows are in fact a “positive space” and not “negative space” so to say.As an artist I intend to simplify things, and try to see the innocent version of people and objects around me.

Series of artworks:

"THE GRACEFUL GODDESS"

Spirit of ecstasy, is truly an ever evolving symbol of success. An eclectic series of the timeless classic, vintage Rolls Royce cars. This series emerged as a consequence of my desire to paint an object of exquisite craftsmanship that glorified & revolutionised Engineering excellence in motorised vehicles. 

As an artist I admire the simple yet bold lines and design of these masterpieces.

"Chappal " 

(Basic footwear) Slippers represent simplicity of life.This series reflects various aspects, connected to our lives; they (slippers) transparently convey the story of existence, struggles and achievements of an individual.

"Tribal" 

Based on Tribal figures and motifs related to tribal lifestyles. I have always found myself attracted towards everything that inspires a feeling of unquestionable regard for nature and how the tribals are not only closest to nature or how their life revolves around nurturing and protecting the nature’s creations (all forms of life). 

Their lullabies and poems, songs and stories, their joy and pain, everything acknowledges the superior Nature, a higher deity that they respect and humbly bow to this omnipresent loving source of life.

Trupti Joshi, born & brought up in Indore, Madhya Pradesh, graduated in Fine Arts (Painting) year 2004 from the prestigious GIFA.Currently, she is based in Vadodara, Gujarat.

VENUE: Jehangir Art Gallery, 161-B, M.G. Road,

Kala Ghoda, Mumbai 400 001, Timing: 11am to 7pm, Contact: +91 9769488503

DCP Expeditions to exhibit its Grand Annual Photography Exhibition at Bombay Art Society, Bandra

DCP Expeditions to exhibit its Grand Annual Photography Exhibition at Bombay Art Society, Bandra

DCP Expeditions, India's one of the fastest growing Photography Training Academy will be exhibiting its 8thGrand Annual Photography Exhibition 2023, on 20th, 21st and 22nd January 2023 from 11:00 am to 7:00 pm at Bombay Art Society situated at K. C. Marg, Bandra Reclamation, Bandra West, Mumbai, Maharashtra 400050.

The exhibition carries with it a legacy of 8 years exhibiting astonishing creative photography by hundreds of photographers from across the country and also, from beyond the country borders. The platform aims at providing the talented photographers an exposure to a wider audience. The imagery involves several genres of photography starting from wildlife, birds, macro, landscapes, astro to travel and food photography.

A total of 200 breath taking images by 80 plus professional as well as amateur wildlife, nature, traveland food photographers from across India and abroad, will be displayed in two galleries.Photographs printed on Epson enhanced Matt papers and beautifully mounted in frames will glorify the galleries of Bombay Art Society for three days. The previous exhibitions conducted in the bygone years had immense success with nearing 5000 footfalls over 3 days. This year, the exhibition is optimistically looking forward towards over 7500 footfalls.

This year the exhibition is supported by industry leaderslike Olympus India, Canon India, Nikon India, Creative Newtech Ltd, PhotoStop by Honeycomb Creative Support Ltd. and Lotus Enterprises.

For more information, kindly check the website https://dcpexpeditions.com/

For detailed information, kindly contact:

Dr Caesar Sengupta / caesar@dcpexpeditions.com +91 9819839820

From: 20th , 21st  & 22nd January 2023, DCP Expeditions presents DCP Annual Photography Exhibition 2023

VENUE: The Bombay Art Society K.C. Marg, Bandra Reclamation Opp. Rang Sharda Hotel / Bandra(West), Mumbai 400 050 /Timing: 11am to 7pm / Contact: +91 9819839820 / Email: caesar@dcpexpeditions.com

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

 

The National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India cordially invites you to the inauguration of  "The Mind's Cupboard: A Retrospective of Lalitha Lajmi", on Thursday, 12^th January, 2023, 5:00 pm at NGMA Mumbai, Auditorium. 

PIN POSTER: SINGAPORE

SAKSHI GALLERY

 

TARQ: Phallocratic Heterotopia.Memory, botany and ecology play key roles in Makanji’s artistic idiom.

Apnavi Makanji

About the Artist

Apnavi Makanji's body of work spans the mediums of drawing, installation and video. Their preoccupations center around displacement, ecology with an emphasis on botany, explorations of memory and the idea of home. The interaction of this synthesis with the construct of urban spaces and the socio-economic structure of our times, lies at the core of their work.

Their last solo show was Soil as Witness | Memory as Wound, TARQ, Mumbai, 2019.Their other solo shows include Travails of the Wandering Memory Seed, Galerie Félix Frachon, Brussels, 2016, Domus Vulgus, Art Asia Miami (with support from The Guild NY) Miami 2010; Domus Vulgus, The Guild NY, New York 2010.

Makanji recently participated in the Dhaka Art Summit (February 2020). They have taken part in several group shows including CLAUSTROPHOBIA ALPINA II – Subliminal Illuminations & the Shadows of Flight, curated by Varun Kumar, Forde Geneva, 2022; NATURE YOU ARE, Theatre Benno Besson, Yverdon Les Bain, 2022; HEAT, Espace Labo, Geneva, 2022; (ME)(MORY) curated by Dipti Anand, Vadehra Art Gallery, New Delhi, 2021; I LOVE #ArtistesDici a public intervention facilitated by the Fonds Municipal d’Art Contemporain, Geneva, 2020; Narrow Road to the Interior, Vadehra Art Gallery, New Delhi, 2019; Remembering the Present, Vadehra Art Gallery, New Delhi, 2018; Carnets, Halle Nord, Geneva, 2017; Raving Disco Dolly on a Rock ‘n’ Roll Trolley, Envoy Enterprises, New York, 2014; Considering Collage, Jhaveri Contemporary, Bombay, 2013.

Makanji lives and works in Geneva.

Artist Photo Credit: Stephanie Hügli

About the Exhibition

Apnavi Makanji’s second solo exhibition at TARQ, PSYCHOPOMP, comes at a pivotal time in the artist’s life and practice. Featuring their drawings, collages, mixed media sculptures and a video, the works in the show are about post-colonial extractivist histories, queering the future, human connection and navigating the current 

Phallocratic Heterotopia.Memory, botany and ecology play key roles in Makanji’s artistic idiom. In this show, Makanji’s artworks merge visuals of biological species with images of extractivism, 

highlighting how removed our idea of nature is from the truth of our actions towards it. An example of this is Styx, an installation of found objects and blueprints of crude oil extraction sites in West Africa belonging to the French Elf petroleum company, which portray the artist’s concerns on subjects of neo-colonialism, slave labour, and extractivism. 

Juxtaposed with this bleak reality of the world, a portion of this body of work explores what is termed by the artist as, “the possibilities of a post anthropocentric world through a queer lens”. Here, Makanji views being queer as the ability to adapt, as well as the ability to be kind, compassionate and soft. As described by the artist, “PSYCHOPOMP guides us toward but also embodies this proposition of a Queertopia that stems from a collective, intersectional awareness that is not exclusive to our species but extends itself to every other species including the botanical and mineral worlds.” 

F35/36, Dhanraj Mahal, C.S.M. Marg, Apollo Bunder, Colaba, Mumbai 400 001

+91 22 6615 0424 | info@tarq.in | www.tarq.in

OPEN CALL APPLY Absolute Abstraction Group Show -0.1

 

OPEN CALL

APPLY

Absolute

Abstraction

Group Show -0.1

Curated by

Heena Sk @heena_sk_artist

Deadline: 15 Jan 2023

Contact: Heena: +91 98810 10953

ONLY for 6 Artists, Limited display

Send six image of works and CV last 5year with Subject open with details: info@nippongallery.com

RSVP: +91 9820510599 / Nippon Gallery: on info@nippongallery.com

RSVP: Nippon Gallery:

on info@nippongallery.com

NIPPON

30/32, 2nd Floor, Deval Chambers,

Nanabhai Lane, Flora Fountain, Fort,

Mumbai – 400 001, India.

@nippongallery @tathipremchandstudio

#KOLKATAGALLERY #KOLKATAART #OPENCALL #APPLY #sndtartcollege #Abstraction #Abstractpainting

#santiniketan #jjschoolofart #delhiartcolleage #indianwomenartist @tathipremchandlife @nippongallery

SAVE DATE: 27th 2023 at Nippon Gallery

 

OPEN STUDIO 

Sincerely from 2005 + Drawing Book

            -Tathi Premchand

Preview Night: 27th Jan 2023, Time: 6 t0 10pm 

7 th to 27 th Jan 2023   Visitors by appointment only

NIPPON

30/32, 2nd Floor, Deval Chambers,

Nanabhai Lane, Flora Fountain, Fort,

Mumbai – 400 001, India.

@nippongallery @tathipremchandstudio

#KOLKATAGALLERY #KOLKATAART #OPENCALL #APPLY #sndtartcollege #Abstraction #Abstractpainting

#santiniketan #jjschoolofart #delhiartcolleage #indianwomenartist @tathipremchandlife @nippongallery

BLACK SPACE WITHIN BLACK - I am immensely happy to meet Rajesh Rajbhar, who is a painter totally dedicated to visual art. - Prabhakar Kolte

 

Artist: Rajesh Rajbhar at Jehangir art gallery, 2022

Concept note

“Expression is an aliveness which can be only felt through experience.”   

I start with a blank canvas and a blank mind and then stories, and images emerge from a dialogue between the canvas and the mind. I indulge in painting with no subject matter but only expressions of endless queue, skyscrapers, movement of people, windows of the buildings, and queue at common water tap and then begin with full energy and feelings which comes out in form of expressions of life. Some expressions are unexplained, but expression is an expression in itself, which cannot be explained. We can see and feel it and thus it’s a visual expression. 

Using a stick as a medium to move the colour from one end of the canvas to the other my “Dripping – Style” technique highlights free and spontaneous subconscious feelings and emotions, which are suppressed for a longer time and with the flow of the colour, they too flow very naturally. I play with gestures of expressions in parts which then forms one whole expression.

With a smooth canvas as a surface, I prepare the base with a flat pigment and play with diverse set of materials. My repertoire includes materials such as acrylic, watercolour, ink, oil colors household paints and equally varied set of tools such as brushes, cloth, metal wires, rollers, tubes, socks, and bare hands too. Thus, these act as a cathartic release for my emotions and thoughts.

.

BLACK

SPACE WITHIN BLACK

I am immensely happy to meet Rajesh Rajbhar, who is a painter totally dedicated to visual art. He is young and passionately involved in visual art and he is thoroughly associated with various aspects of this art since he has stepped into the world of visual communication.  He is totally devoted to the art and aesthetic in the field of visual communication. 

I have never taught him but when we started exchanging our views on art and life, we came closer to each other. It was our visual and reciprocal talk on art and life, agony and deep desire for knowledge in art that has kept us deeply connected. As a teacher, I never taught him any academics related to formal art but observed minutely that he wanted to discover a new way of expression. He follows his own way of experiences and communication through his unique way of expression with Black colour to which he is dedicated thoroughly with confidence and faith in himself. He has founded his curious thought process and his desire for contemporary world of art. He has developed an enthusiastic way of expression in the ‘Black colour’ which he started working on huge canvas as if he was trying to discover the hidden soul of black. He struggled a lot but never gave up discovering the breathing soul of black. 

Rajesh is deeply involved in his unique theory of expression in black colour. As a matter of fact, for him black is not a just a colour but his conceptual journey to find out the conscience and soul of black which does not remain a pigment but a medium of communication. It is an eternal journey of unknown discovery of the black which throbs constantly in his existence.    

I personally feel that he is trying to develop a new visual language in black which only he can understand today, but I am sure that his language will be noticed and read by sensitive connoisseurs in future. He is haunted by black and black is responding to this young artist as if the black is not just a colour but two sides of the living darkness, discovered by young artist called Rajesh Rajbhar. I wish him a great future; may God bless him and fulfil his desire of living with black. 

By 

Eminent Artist Dr. Prabhakar Kolte 

Prabhakar Kolte at Jehangir Art Gallery- Mumbai - 400 001

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