Bengal Beyond Boundaries

The presence of Aakriti Art Gallery in contemporary Indian art is both exemplary and exceptional in its artistic evolution over the pst. It reveals its commitment to serious and meaningful pursuits.In a historic unveiling the gallery will showcase works of Bengal artists beginning from Early Oil paintings, works by Bengal Masters as well as important contemporary practitioners who have contributed to the making and evolution of Indian art.

The works which will be presented at Bikaner House titled 'Bengal Beyond Boundaries'. and curated by noted writer and art critic Uma Nair, will showcase a wonderful process and spirit that provokes a dialogue that will not question our own notion of culture but will also reflect the beauty of the human imagination.

In an remarkable assembly of works the show will be a quest to accomplish deeply impressive satisfying mélange of artists, each of whom possesses a sprightly distinctive approach. The compositional variety and the grammar of execution shall make for a lively diversity of angles as well as satisfying narrative styles.

Aakriti’s famous Masterpiece shows over more than a decade has defined them as a gallery that with works of artists who have been showcased along with Masters to ensure the very best representations of contemporary developments. Thus from a profusion of options the gallery has been able to distill a coherent and positive selection of artists over the years.

Aakriti’s exhibition history is one of explorations that run back and forth in melding the past and the present. It has always had a distinctive policy of having immense respect for senior and established talents and the discernment of a new promise through thoughtfully curated exhibitions. Its most coveted exhibitions like ‘Gen Next’, have put contemporary Indian and International Art before the public in an appraised and consistent manner. Though its emphasis has largely been on Indian art, in particular, it has also showcased meaningful works from abroad at regular intervals.

Aakriti is known for its archival collections, collectors, anywhere in the world may collect artwork from a huge range of works available on gallery’s website, online. The gallery has also produced a huge corpus of literature on Indian and international art, published a much sought after art magazine named Art Etc. Some of the sterling essays will be carried out in the book which will come out during the exhibition.

At the forthcoming exhibition, Aakriti Art Gallery under the stewardship of Gallery’s Director Vikram Bachhawat will present a mapping of the Bengal School along with a unique perception of the social and cultural future with Early Oil Paintings, the works by Masters and practicing artists through its interaction with the audience. Over the years Aakriti is known to create shows that provide rich audience perceptions, as well as understandings of the creative potential of some of fresh talents. In this unveiling there will be a conjunction of established artists as well as Masters and emerging names.

The range of mediums and compositional forms will make for a lively diversity of angles and satisfying narrative styles. Aakriti’s past experience with Indian Masters will be an abacus to ensure the very best representations of contemporary developments. The present may be interrogated in an attempt to decipher in it the heralding signs of a forthcoming event. Here we have the principle of a kind of historical hermeneutics from Anonymous Early Bengal, Hemendranath Mazumdar, Jamini Roy, Rabindranath Tagore, Abanindranath Tagore, Nandalal Bose, Manishi De, Somnath Hore, Gopal Ghosh, Rabin Mondal, Ganesh Haloi,Bikash Bhattacharjee,Sakti Burman, Bikash Bhattacharjee, Gobardhan Ash, Kartick Chandra Pyne, Jogen Chowdury, Arpita Singh, Lalu Prasad Shaw,Pradeep Moitra,Anjolie Ela Menon,Samir Aich,Shuvaprasana,Shipra Bhattacharjee,Paresh Maity,Jayasri Burman,Jayashree Chakravarty, Tapas Konar, Aditya Basak, Chhatrapati Dutta, Sudip Roy,Chandra Bhattacharjee, Samindranath Mazumdar, Akhil Chandra Das, Subrata Biswas, Tapas Biswas and others.

Venue : Bikaner House. New Delhi 

Date.   : 7 July To 16 July 2023.

Aakriti Art Gallery

(A unit of Chisel Crafts Pvt. Ltd.)
Orbit Enclave, First Floor
12/3A, Hungerford Street
Kolkata-700 017
Phones: +91 33 22893027 / +91 33 22895041
Fax No: +91 33 22895042
Mob No: +91 9830411115 / +91 9830411116 

थुक लगाना मना है !!

दक्षिण मुंबईस्थित, गॅलरी निप्पोन मध्ये गेले काही दिवस एक प्रदर्शन सुरु होत, आज शनिवारी त्याचा शेवटचा दिवस. प्रदर्शन निलेश किंकळे या चित्रकार, शिल्पकार आणि क्युरेटर( नियोजनकार/नियोजक) यांनी क्युरेट केलं होत. त्यासोबत अर्क आर्ट ट्रस्ट यांचंही सहकार्य या प्रदर्शनाला लाभलं.

प्रदर्शनाचं नाव अगदी वेगळं होतं. “ थुक लगाना मना है “ जाणीवपूर्वक बोलीभाषेतला वाकप्रचार त्यांनी वापरला.

एकेकाळी पोस्टाचे स्टॅम्प/ तिकिटं याला मागच्या बाजूला गोंद लावलेली असे. तिला थोडं ओलं करून पत्रावर, पाकिटावर चिकटवत असत. नोटा एकमेकाला चिकटतात, त्यांनाही मोजताना हळू हळू थुकीचा वापर करणं सुरु झालं. एखादी कृती करण्यासाठी थोडा ओलावा निर्माण करायचा असेल तर मानवाची थुकी/थुक वापरणे हि एक पद्धत रूढ झाली. पण पाण्याच्या किंवा इतर द्रवपदार्थाच्या ऐवजी थुक वापरणे याला अजूनही एक अर्थ प्राप्त झाला. खोट्याचं खरं करणे.

निलेश किंकळे

पाणी किंवा इतर द्रव पदार्थ या ऐवजी थुक वापरून काम करणे.

कलाक्षेत्रात खोट्याच खरं करणे या अर्थी तो त्यांनी वापरला!!.

कलेमध्ये खोट्याच खरं करणं यालाही अनेक अर्थ आहेत. एक प्रसिद्ध कलाकार, त्याची मौल्यवान कलाकृती याची नकली प्रतिकृती बनवून तिला अस्सल म्हणून विकणे. तसेच एखादा कलाकार हा खूप प्रसिद्ध झाला, त्याच्या कलाकृती अनेकांना ‘विकत घ्यावी’ असा वाटू लागलं, की गम्मत होते. एकतर मागणी जास्त तशी किंमत वाढू लागते आणि त्यामुळे कलाकार किंवा त्याच्या कलाकृतींची विक्री करणारी गॅलरी, दलाल कलाकाराच्या कमी दर्जाच्या कलाकृतीही उच्च दर्जाच्या म्हणून विकतात. नकली बनवून विकतात, विकू शकतात. कलाकारांची एक वैचारिक, ‘सांस्कृतिक मुल्यामध्ये भर घालणारा’ अशी एक प्रतिमा, निर्माण केलेली असते, झालेली असते. त्यावरही त्याच्या कलाकृतीची किंमत ठरते. पण अनेक वेळा, कोणती कलाकृती खरंच मुल्यनिर्मिती करत आहे आणि कोणती करत नाही, सर्वसाधारण दर्जाची आहे ह्याच भान न ठेवता सर्व सामान्य कलाकृतीही,असामान्य,मुल्यवान म्हणून खपवल्या जातात. पिकासो ह्या स्पॅनिश चित्रकाराबाबत असं नक्कीच झाल्याचं आपण मागे वळून पाहताना आढळून येत. कलाव्यवहारातील खऱ्याखोट्याची कलाकाराला पूर्ण कल्पना असते, तो त्याबाबत मौन बाळगून  म्हणजे तो त्याच्या कलानिर्मितीच्या प्रामाणिक मुल्याला लवचिक ठेवतो, जेव्हा फायदा असेल तेव्हा तो अप्रामाणिक राहतो आणि इतर वेळी प्रामाणिक असाही अर्थ थुक लावणे याचा निघतो. थुक लावणे = दुसऱ्याला /स्वतःला फसवणे आणि यश मिळवणे.

निलेश किंकळे एका अर्थी सर्व कलाकारांना म्हणतात त्यांनी आयोजलेल्या प्रदर्शनात थुक लावणे, कमी दर्जाचं काही करणे, फसवणे याला वाव नाही.

गॅलरी निप्पोन हि एक छोट्या आकाराची गॅलरी आहे. ती प्रायोगिक कलाकारांसाठी उत्तम आहे असं निलेश मानतात.

 गॅलरी निप्पोन ह्या गॅलरीच्या आकारामुळे आणि स्टॅम्प ला थुक लावण्याची, कलेत खोट्याच खरं करणं या सांस्कृतिक सवयी या सगळ्याच मिळून चित्राचा आकार निश्चित झाला. त्यांनी देशोदेशीच्या अनेक कलाकारांना निवडलं,आव्हान केलं कि त्यांनी या प्रदर्शनात भाग घ्यावा. पण त्याकरता त्यांनी पोस्टाच्या स्टॅम्पची, त्याच्या स्वरूपाच्या अडीच इंच x तीन इंच या आकारचे कागद वापरले. ते त्यांनी सर्व कलाकारांना पोस्टाने पाठवले आणि कलाकार कोणत्याही स्वरूपाचं, मध्यमामध्ये काम करत असले तरी त्यांनी या एवढ्या छोट्या कागदवरच काम करून गॅलरीला पोस्टाने , कुरियरने पाठवावे अशी हि योजना होती. एकंदरीत भारतसह १३  देशातील २२० कलाकारांनी याला प्रतिसाद दिला. भारतातील अनेक प्रतिष्ठित, जेष्ठ , तरुण , नवोदित कलाकारांनी यात भाग घेतला.

प्रदर्शन पाहताना एक संवेदनशील अनुभव येतो. छोट्या आकारात कलाकारांनी इतक्या तरल कलाकृती बनवल्या आहेत की रसिक कलाकृतींच्या छोट्या आकाराच्या कोशामध्ये शिरतो. कोशाच्या आत तरल संवेदना, मूक भाष्य, चित्कार, घुसमट, भावनांची अभिव्यक्ती,निरीक्षणं,अश्या अनेक गोष्टी आपण पाहतो. एका अर्थी या छोट्या खिडकी मधून कलाकारही संवाद साधतो. अगदी कानात हळुवार बोलल्यासारखं.एखादा छोटा घास तयार करावा तस!! त्या कृती मध्ये भावनेचं मिश्रण अगदी सहज झालं आहे. हा अनुभव अस्सलतेची खात्री देत. जरी सर्व कलाकृती विक्रीसाठी असल्या तरी या सर्व प्रदर्शनात हे भान येताच नाही. जणूकाही सर्व जण अस्सलपणा, प्रामाणिकपणा, याबाबत एकमेकांना आपल्या भावना कळवतात असा काहीस स्वरूप याला प्राप्त झाल आहे.

कलाकारांनी छोट्या आकारामुळे अगदी लघुचित्रकारच्या, सोनाराच्या नाजूकतेने काम केलं आहे त्याच भान पदोपदी येत. अनेकांनी त्यांच्या नेहमीच्या आकाराला सोडून, माध्यमाला सोडून , आणि तरीही त्रिमित वस्तू चिकटवूनही कलाकृती घडवल्या आहेत. ज्या विस्मय निर्माण करतात. छोट्या आकारात , काहीश्या कमी किमतीमध्ये उपलबद्ध  कलाकृती कला संग्राहकांना सुद्धा एक उत्तम संधी देतात.

हे प्रदर्शन अनेक जागी फिरणार आहे, प्रदर्शित होणार आहे. अस्सलपणा , प्रामाणिकपणा आणि तरलता यांचा संदेश सर्व ठिकाणी पसरवणार आहे. हि एका नवीन सुरवात ठरो !!

महेंद्र दामले

( चित्रकार, लेखक, कलाशिक्षणतज्ञ )

Miniature Post Tickets - थूक लगाना मना है An Art Project by Arka Art Trust Curated by Nilesh Kinkale

Curator Nilesh Kinkale defines human experiences through senses, one of which resides in the mouth (tongue with saliva). It is an instinct and mental response that when we want to stick or lubricate naturally, we brush it with spittle. A substantial precedent is the affixing of stamps on postcards with saliva. A mark of self, sent to the recipient miles away. Screens though have now proclaimed “थुक लगाना मना है.”! Contemporaneously, this Hindi idiom means that people are outsmarting through 

Nilesh Kinkale 

trickery or deception, to beat and deceit the living competition. Today, it is a constant in politics, education, behavior, art and society to hoax others via vague reality. To further its tendency, it remains committed to the surface and prevents us from exploring the true depths of someone or something. What could be done to halt this corruption and experience morality? These miniature art stamps depict the impressions of Mughal Miniature paintings that once were storyboards/thoughts but now are history and treasure. To present a combination of philosophy, art, and history the curator bring to showcase Miniature Postage Stamp Masterpieces. The concept of ‘Licking/Tricking not Allowed’ presented up by the Arka Art Trust at Nippon Gallery provides a perspective to selected artists across the globe to manifest their perceptions on the postal tickets and stick/exhibit them on the gallery walls while proffering a message to the spectators.

The variety of the exhibition finds expression through the use of Post Stamps cut to fit size 3 x 2.5 inches, merging the school of thought, from “minimalism” to “postmodernism”, in confrontation with each other. The color excluded, the exhibition seeks to contrast the differences in personality and artistic direction of the Two Hundred Twenty Five artists around the world skill fully installed along with envelops through which the artist posted their works. At times of NFT and other new age art it feels refreshing to experience an old classical approach by the curator of the show, whereas the intimate gallery is nestled in an old colonial mansion in Flora Fountain. 

Drawing is the starting point for most of Jogen Chowdhury’s work from the rendering of image to a more intuitive, spontaneous approach his figures overlap one another to form a mosaic with an underlying message. Onkar Kshirsagar’s shapes are related to one another by tensions and fibers sometimes flowering into small delicate shapes. The thin glazes have a melting lyricism that is sophisticated and elegant, nowhere jarring and equally not hackneyed. The distinctive feature of Apurba Nandi seems to be the empathy it shares with his subjects caught in the common human predicament. Social issues finds a place in his work, but the overall treatment is subtle and restrained, even though pointed examining the sensual and sensory experience.

Antonia Bounchy, Nilesh Shilkar and Boryana Petkova Sofia have experimented with the visual capabilities of text working with words to devise textual configurations, semiotic imagery, and visual poetry. The iconography of woman is an important feature in works of Mithali Das and Kapil Alaskar their images are not devoid of context. The status of women in society and nuances find reflection in their work set in kinky dream like atmosphere. The highly finished smooth surfaces of Sudharak Olwe’s works are reminiscent of photography where the back and side lights are used to pick out or emphasise the plasticity of objects with naïve vision.

Artist: Saju Kunhan

Saju Kunhan and Anjana Mehra sequence of juxtaposing nature in urban architecture which follow a narrative, linear in the way it reads but elastic in the way that it enables us to comprehend and examine their subject. A radical denial of belonging to any style, rejection of the modernistic traditions of painting and the continued critical discussion characterize the works of Prashant Salvi. Turning thing upside-down, inverting them, mixing them up and thus destroying conventions, this has almost become a trademark. The contribution Sadanand Shirke made to assemblage, of paper strip constructions is significant. The basis for all his activities and ways of working is his outlook that exploded conventional systems of thought and was essentially visionary. 

Artist: Jatin Das

Tathi Premchand’s work over the years evolved a personal idiom of undulating lines and contortions on the paper. Her work involves and transports the spectator into a world of ceaseless movement. Rajesh Salgaonkar, Sagar Kamble works are not melancholy in nature; however they transport us to a world of fable and folklore of blue eyed goddess reclining odalisques and bizarre hybrid beasts. S.G. Vasudev and Jatin Das with their free and vigorous ink-works unprecedented in time continue to fascinate the viewer. It has been the practice of their work which establishes them as avant-garde artist, resolved to re-think the demands of their art and to address them in an entirely new way. 

Artist: Dilip Ranadae

Madhao Imartey and Dilip Ranade create a luminal zone between the real and the imaginary, between the viewer and the image. Whereas abstraction is often associated with the effacement of metaphor and the distillation of essence from appearance, the result, is an ambiguity which ensures a layering of metaphor: the image becomes capable of many competing evocations. Shivani Dubey plays with forms in an irreverent manner yet the whole composition has a sublime effect. The forms remain centered even as the cosmos goes through the motions of fusion and fission in the periphery. In Ratnadeep Adivrekar’s view time and space are not finite, although in human reckoning time is divided into moments, just as space is divided into points. He is concerned to show that the external is immanent in the temporal process and yet transcends it.

( Interactive art थूक लगाना मना है by Nilesh Kinkale )

This well-documented and unusual exhibition includes an archival display of Postage Stamps materials in form of drawing, painting, text-art, two dimensional sculpture, and photograph, specially produced by artist from India and across the world for this project. Nilesh Kinkale considers all these curatorial elements, along with his multi-media work, as integral constructs of this project.

Abhijeet Gondkar

                                                                                                                        

 (Abhijeet Gondkar is an independent writer and curator based in Mumbai.)

👇Miniature Post Tickets - Art show Until 20th May 2023

Gallery Trimmings: 3pm to 7pm / Sunday Closed.

 Nippon Gallery 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India.M: 9820510599 / www.nippongallery.com

visit show click below link 

https://nippongallery.com/miniature-postage-stamp-masterpieces-art-project/t show 

Maharaja’s Treasure: an exhibition of select works of art from the famed Air India Collection.

After the last month extremely successful launch of NGMA music video anthem and  Ricky Kej LIVE  music concert by the 3 x Grammy award winning music composer and environmentalist at the Iconic Gateway of India, this month NGMA Mumbai would be presenting Maharaja’s Treasure:  an exhibition of select works of art from the famed Air India Collection. 

This exhibition is the first of many to celebrate the iconic Air India collection which was a pioneer in promoting our art heritage across the globe. The exhibition showcases iconic works of masters such as V.S.Gaitonde, M.F.Hussain, B. Prabha, G. R Santosh, Raghav Kaneria etc. The famous ashtray designed by 'Salvador Dali' also forms part of the display.

The exhibition inauguration and preview is scheduled at NGMA Mumbai on 27^th April, 2023 at 6:00 pm in the august presence of Shri G Kishan Reddy, Hon'ble Union Minister of Culture, Tourism and DoNER , and other distinguished dignitaries and invitees.

It is my honour and pleasure to extend our special invite on behalf of the Director NGMA Mumbai, to be our esteemed  guest and grace the exhibition inaugural event at NGMA Mumbai  on 27^th April 2023 at 6:00 pm.

We look forward to your gracious presence at the exhibition inauguration. A line of confirmation from your end would be highly appreciated and help us plan better.

 

We are ready -- Miniature Postage Stamp Masterpieces --- 4th to 20th May 2023 at WE CUBE

RSVP Tel Phone: +91 9820 510 599 

Nippon  Gallery, 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai –400 001,

@wecube @nileshkinkale #mumbaiartweekend #Miniature 

#Postage #Stamp#Masterpieces #indianartist 

Pabitra Pal started the journey of his artist life from a natural continuous life journey and gradually new transformations are taking place in his art practices as well as his life

 Dignified artisan Pabitra Pal has showcased his persona in his artistry. Pabitra's creativity at Transformative Metaphor exhibition highlights a fusion of computation and his own individuality. 

The Nippon Art Gallery of Mumbai is playing an extraordinary role in providing a platform to the artists showcasing their piece of art. Ahead of time, it is hoped that the artists shall be receiving great room for opportunities.

Artist: Pabitra Pal

Metaphorically speaking, an artist has an eternal connection with whatever the Creator has provided us within this world of conventional and unconventional materials. Born in the Pala clan by birth, the artist, Pabitra Pal, is a potter. Although none of his predecessors worked in the potter's art. But from an early age Pwarti responded viscerally to everything from making clay urns to making idols out of straw and clay, and seeing these methods time and again made him determined to establish himself as a Sculptor. In the soil, the impression of different parts of the body of people, animals and birds, the shape of dry dry land, after rubbing the soil with sand, he started to transform his sacred form into another form. Therefore, a strange metaphor smell is felt when looking at the sculptures and art of the first row of the holy flock.

Pabitra Pal lives in Medinipur district of West Bengal. He received his bachelor's degree in sculpture from Rabindra Bharati University, Kolkata. Since his student days, he has been a favourite student of various well known artists and art educators and has been able to take his skills to another level in their practice. 

Pabitra started the journey of his artist life from a natural continuous life journey and gradually new transformations are taking place in his art practices as well as his life. Using mechanical parts of sails, cars, and various vehicles, and junk materials, he created new human forms, animal forms in his art. Somewhere else you can see part of a spade used in paddy field or its simile making its own shape. Sometimes, using animal heads, Singh has created a beautiful decorative pattern in the work. Gradually the characteristic qualities of a craft of the Pala dynasty began to take shape in the artist's art. On wood the crowns of various Pala dynasty princesses, their wearable egos and figurative forms have been embellished with great skill, using ornaments.

As we can see in the beginning, casting has been taken in different ways by melding completely natural materials and naturally surrounding the texture of the soil. While reviewing the sculpture of the artist Pabitra Pal and his metamorphosis, I can say in my perspective that both 3dimension and 2dimension diagonal form can be observed in the sculpture of the artist. Very simple, natural art making mediums are used. It seems to me that just as in everyday life we are constantly improving our character traits and changing towards higher standards, it is a natural dynamic movement as the artist's artwork and day by day move towards a higher style of thought. As the sense of aesthetic beauty is seen in the artist's work, the commercial quality is touched and noticed in the work. Dignified artisan Pabitra Pal has showcased his persona in his artistry. Pabitra's creativity at Transformative Metaphor exhibition highlights a fusion of computation and his own individuality. 

The Nippon Art Gallery of Mumbai is playing an extraordinary role in providing a platform to the artists showcasing their piece of art. Ahead of time, it is hoped that the artists shall be receiving great room for opportunities.

Transformative Metaphor - SOLO SHOW by Pabitra Pal @pabitra6369

Preview

4th April - 5pm to 8pm -

Open: 2nd April 2023 to 6th April 2023 - Time: 3 to 7pm



view at catalog on- www.nippongallery.com

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

Nippon Gallery: 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India.

WOMANISM मुंबई -Mumbai Group Show -0.4 - Kala ghoda Mumbai

Curated by

Moumita Sarkar

Nippon  Gallery 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India.

Tel Phone: +91 9820 510 599 / 022 6633 3997 E -mail: info@nippongallery.com / www.nippongallery.com

7th April 2023 to 16th  April 2023

view at catalog on- www.nippongallery.com

 

CONFLUENCE” An Exhibition of Paintings By Well-known artists Vishnu N. Sonavane & Jyotsna V. Sonavane

 

VISHNU SONAVANE  

When we engage in the arts, we dip into our souls to discover deep pools of wonder, breath-taking gifts of beauty, and quiet revelation. As we create, we are invited into playfulness, poignancy, and surprise-energies that renew us and revitalise our sense of purpose.

Overlapping geometric floating planes have always been my preoccupation. After establishing my signature style-rhythmic waves of floating figures and forms merging into one another in a harmonic symphony, I felt an urge to explore a new vocabulary. As such, change, transition and revisiting one's core are an indispensable part of an artist's journey and also integral to my artistic endeavour. 

Through my recent suit of works I seek to explore the realms of mythology, folklore, innocence and the vibrancy in beauty that are present all around us. These ephemeral images engage the viewer in a silent discourse into the dimension of transcendent reality. The past, present and future emerge as a flux of transitory shapes caught in overlapping layers of experience.

Rich tapestry of symbolic forms have been weaved in these paintings. Shri Dattatreya, the Indian god with three heads. appear as the central figure in my works. However, rather than exploring his divine aspect I focus on representing the god as the transient quality of human mind, the tender, the preserving and tough. Similarly, cows and birds are the constant recurring motifs in my works. Cows, indicate the creative and nurturing aspect of nature, whereas birds indicate the fleeting quality of the human mind. 

In a mix of figurative and abstract renderings, my paintings project delightful dramas with undertones a sublime ambience. I carefully create layers to build astonishing tones and textures that give these works a peculiar radiance. I employ a palette dominated by the blue of the mountain sky, ochre and crimson complemented by the muted shades of the midnight grey, the spring green and the muddy brown and highlight them with sharp, percussive strokes of mellow, placid hues.

In total, these images create multi-layered crystalline narratives that present luminous tales, mesmerise the viewer, touch their hearts and stir their souls.  

JYOTSNA SONAVANE  

As an artist, my best work comes from the deepest place inside of me which fulfils the need to create. Painting thus becomes an inward journey for outward expressions I have always considered painting as a discrete language, not of words but of perception, feelings and beliefs. My paintings are impressions of the internal aspects of my life. These images of internal struggles of life. In essence, I am finding myself.

Living in an artistic family. I was exposed to art conversations every day. However, it was only until a few years ago that I developed the courage to express my thoughts, dreams, memories and aspirations through art. Art has the power to heal and transform. When I discovered just that, I knew I had to dedicate my life to making others feel "something" when in the presence of my art.

I like to work with the abstract language of lines and colours because the compositions continuously evolve and acquire new meaning as time passes and the perspective of the viewer changes. My inspiration comes from the colours and forms found in nature. I employ a variety of self-discovered techniques to create abstract paintings that mimic things we see in nature like stone, petrified wood, flowing rain water. My work is alive with emotion through the movement of the brushwork and the luscious layered colours. Much like memories, each painting is filled with layer upon layer of paint, building a rich history into each piece.

Being a self-taught artist, I devote a lot of time on observing, perfecting my skill with practice and continuous learning. I create through intuitive responses while engaged with the work. The process is completely organic and spontaneous. However, irrespective of what I feel at the time of painting, my constant pursuit is that the viewer experiences sheer delight in the presence of my works.

Sometimes, a rainbow of colours emerges from the onyx, whereas at times, an epoch passes by in the golden light and every time, hope wins over despair, I am aspired to start all over again. Where words and ideas end, my creative process begins, my internal landscape comes forward, I work intuitively, drawing from this vast boundless space from inside as well as outside.

Press Release

From:4^th to 10^th April 2023

“CONFLUENCE”

An Exhibition of Paintings

By

Well-known artists 

Vishnu N.  Sonavane & Jyotsna V. Sonavane

 

VENUE:

Jehangir Art Gallery

Auditorium Hall,

161-B, M.G. Road,

Kala Ghoda, Mumbai 400 001

Timing: 11am to 7pm.

Contact: +91 86918 50376

 

‘VISCERAL REALMS’Solo Show of Paintings By Well-known artist Hina Bhatt

This show will be inaugurated on 4th April 2023 at 5pm by Chief Guest Mr. Ashish Shanker(Managing Director & CEO - Motilal Oswal Private Wealth), With Blessings from Shri. Sumant Shukla in the presence of Special Guests Prof. Anant Nikam(Eminent Artist), Prof. Vishwanath Sabale(Dean-Sir J.J. School of Art, Mumbai), Shri. Prakash Ghadge(Eminent Artist), Shri. Milind Mulick(Eminent Artist)

Artist Hina Bhatt

Stupendous Visceral Realms Exhibition Opens at Nehru Centre Art Gallery “Man expresses himself through art,” said Nobel laureate Rabindranath Tagore (1861–1941); nature is beautiful, but Tagore expounds that “beauty is simply reality seen with the eyes of love.” And it is this love that draws artist and viewer alike to HinaBhatt’s work. The tangible painting is the manifestation of this interactive experience.Bhatt’s solo exhibition, Visceral Realms is inspired by trees, and her renditions are distinctive because they are so visceral. The visceral realms are where Bhatt lives artistically and what she expresses through brush and paint on canvas.

The exhibition features a collection of oil paintings on canvas, as well as some of Bhatt’s pen drawings. Nature, the common theme, ties the variant together. This may seem a simple theme at first glance, but there is deeper research, deeper dissection of both modes, by the artist. The drawings appear to interrogate the roots—the strength—of the trees. Bhatt’s art is perhaps a quest to understand the metaphysics of these roots. Her pen drawings could be viewed as her self-portraits, in which she attempts to understand her internal roots and how they connect her to the universe. 

This exhibition is curated by Vilas Tonape, a U.S.-based Indian artist who is a professor at Methodist University. He knows the high quality of the art being presented. “Bhatt’s works resonate because of her sincere studio practice, and it is unequivocally her deepest interrogation of nature and trees that manifests on canvas,” states Tonape. Bhatt is astute and deeply philosophical, and her excellence is backed by a sound formal education—a diploma in Textile Designing from Mumbai’s well-known Nirmala Niketan, as well as a Bachelor of Fine Arts degree from the prestigious Stella Maris College of Fine Arts, Chennai.

Bhatt currently resides in Pune, the cultural capital of Maharashtra. The influence of the city’s richness is apparent in Bhatt and her affinity for culture, which permeates her art. Bhatt’s work has been recognized and celebrated in many important exhibitions throughout India, Dubai, Bangladesh, and Nepal. 

The exhibition is free and open to public. Gallery visiting hours are 11:00 a.m. to 7:00 p.m. daily from April 5-10, 2023. A formal reception will be held the evening of April 4 at Nehru Centre Art Gallery, Mumbai.

From: 4th to 10th April 2023

‘VISCERAL REALMS’Solo Show of Paintings By Well-known artist Hina Bhatt

VENUE:

Nehru Centre Art GalleryDiscovery of India BuildingDr. Annie Besant RoadWorli, Mumbai  400 018.

Timing: 11am to 7pm.Contact: +91 97669 27455www.hinabhatt.com

New solo - Save Date Transformative Metaphor - SOLO SHOW by Pabitra Pal

 

New solo - Save Date

Transformative Metaphor - SOLO SHOW by Pabitra Pal

Preview 

4th April - 5pm to 8pm  - 

Open: 2nd April 2023 to 6th April 2023  - Time: 3 to 7pm

Curated by Moumita Sarkar

view at catalog on- www.nippongallery.com

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

Nippon Gallery: 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India.

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