Lizard Installation of Drawings by Tathi Premchand.

Art is the visual history of a given period. Nature is evident and apparently beautiful. Man progressed and steadily brought change in its appearance; bringing in more man-made materialistic things. Artists of every age with realistic outlook always capture these changes. Some are figurative and some abstract. My interaction with nature as well as reality of urban people has led me to create these drawings, portraying the truth of contemporary scenario. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. 

 

Recent Drawing by Tathi Premchand at Art Gate Gallery

I create these drawings because I am more sensitive towards societal issues. I like to paint social issues and causes and make a critical statement through my work. With times, lifestyle, infrastructure of the society and more over behavior and outlook have changed, I try to showcase that change- either good or bad or say, two sides of the same coin. I like to be binocular and scan society at the farthest.

In these webbed drawings are hidden faces of people with many shades of struggle for survival. No where is meditative and tranquil mood. There is awe, stress, astonishment, question remorse and so on.

 The knife edge is what that we advance on. We are ripped with the sharp tip everyday. Still we find our path through it. These struggles and enwrapping due to social disruption have their own attractive token; a sentimental value. I have worked with pencil and pen on paper.

In Drawing I deliberately painted skeleton on Electricity bill. Having basic needed  things include electricity, but the charges are too high; the power is less as compared to powerful bills and that is killing people, reducing them to skeletons.

William Kentridge : David Hockney

The two most influential artists whom I admire are William Kentridge. David Hockney  is always a third party observer putting the reality on paper using pen drawing. William Kentridge uses scribbled papers for his expression of reality. I feel this is an effective medium as it makes drawings more worth and iconic.

This series has various lines combines with styled circles, a white or black spots, hiding the emotional facial gesture of the person. I have captured the complexity using basic tools and in completely freehand manner.  

Titles also play prominent role in my creations. A word or two speaks all. I have pasted my drawings on cardboard boxes and let them be on wall. I call this series ‘Lizard’, as I am awed by its most unique feature to stick to the wall. Just like it pathos and poignancy that never leave us.

And as I adamantly state, “My paintings are not just show pieces to decorate walls, but are the thoughts to be pondered upon.”

- Tathi Premchand

Translation by Pankaja JK 

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‘Visual Archives of Kulwant Roy’, curated by Aditya Arya, on 1st August 2014 at 6 PM at the NGMA Mumbai.

National Gallery of Modern Art, Delhi and Mumbai, Ministry of Culture Government of India and India Photo Archive Foundation cordially invite you for inauguration of exhibition titled- 

 ‘Visual Archives of Kulwant Roy’,

This exhibition presents a historical visual treat, from the priceless collection of photographs taken by press photographer Kulwant Roy’s, prints and negatives. In the process of documenting the rare photographs of Kulwant Roy, Mr. Arya discovered a rare and valuable visual archive, including many unpublished pictures, of a momentous era in India's history which form the part of this exhibition. These priceless images from around the 1940s, which lay hidden for decades, have been brought back to life through the expertise of Mr. Aditya Arya. As a result, we can now gaze into the evocative faces of the valiant women and men who made history in our land six decades ago, all very skilfully captured by Kulwant Roy’s brilliant lens.

 

Kulwant Roy was born in 1914 in Bagli Kalan, Ludhiana and educated in Lahore. Without any formal training in photography Roy then joined Gopal Chitter Kuteer’s studio in Lahore. He joined the Royal Indian Air Force in Kohat near Quetta in 1941. However, he found it difficult to tolerate the discriminatory policies of the British government, which resulted in his ouster from the air force. By then his experience of taking several aerial photographs from the cockpit of the planes that he used to fly had laid a firm foundation for the shape of things to come. Roy became passionate about photography. As a freelancer in Lahore, he documented several significant political events in Pakistan. Re-locating to Delhi in 1943, Roy started his own agency, the Associated Press Agency in Delhi. It was during these years that Roy captured untiring images of well-known historical events some of which are displayed in this exhibition.

Director

National Gallery of Modern Art, Mumbai

 

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Ashok Hinge New Work at Art Gate Gallery

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26th July 4th August : SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
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or emailed at artgate.sc@gmail.com
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Coming soon.

There is a great difference between a sculptor and a stone cutter... 

A special skit for Artists

Coming soon.  

 

शिल्पकार आणि दगड कापणारा, यांच्यात खूप अंतर आहे… 

by Pankaja JK

 

12th July SAVE DATE: ART TALK by Pradeep Nerurkar

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12th July SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com
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FILM SCREENING SATURDAY at Art Gate Gallery

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12th Julye SAVE DATE: FILM SCREENING SATURDAY at 5pm Art gate gallery, churchgate Mumbai
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I am not categorized as the imitator of someone. I like this sense of individuality: Ganpat Bhadke

Recent work by Ganpat Bhadke

I am mystified by Palshikar’s use of colors and themes of Gaitonde says Ganpat Bhadke. But he maintains his individuality and does not merely remain their imitator. He is an explorer of Universe and a meticulous probing mind in the secrets of Universe and its impact on the living beings on planet called Earth. Nature has always been the core of his theme right from the beginning of his painting process. He first mastered the art of landscaping and made a smooth transition from landscapes to portraiture of especially of pilgrims he encountered at Nashik’s religious sites, who move in mass and each of them carry varied expressions and gestures. Starting from Aurangabad, moving on to Nashik, the under-developed areas he moved on to metropolis like Mumbai and then Delhi. He had the liberty to meet masters such as Manjit Bawa, Shanku Chowdhary, Himmat, Shah, Bhushan da, Krishen Khanna, G.R. Santosh and Arpana Caur who had deep impression on him.

His internal vision sharpened as he stayed in urban areas and experienced the difficulties of survival. Peace of nature and hustle-bustle of urban life stirred his mind and he studied how surrounding and environment made deep impact on human life. So, moving from just external beauties of nature and bodily expressions of human, his conscience dived and swam the ocean sub consciousness wherein he colored objects with his own perspective to make it different. He blended expressionism with landscape and portrait art. He presented this work in exhibition named “Human relation’ which was recognized by Lalit Kala Academy.

Later on, Ganpat Bhadke brush with Adivasis, the men much closer to nature than the metropolitans. Their child-like innocence, simplicity and straightforwardness inspired him to paint with freedom and devoid of aggression and ego, projecting simply the happiness and bliss. It resulted into ‘Dissolution Series’, followed by the new emphasis on beauty, gaiety and freedom and his art reached its zenith in the series of works aptly called “Garland of Vision”. In this he used a flower as a symbol for the human form for its innate qualities of simplicity and beauty which remain even in its desiccated and fossilized state. He used diffused color schemes and viscous forms to create a dreamlike imagery with symbolic representation of flora and fauna.

His promotion on next level of understanding and deeper vision could be seen in “Evolving Phases” reflecting his art journey. Abstract art is not easily deciphered by mass. It is only the spread of colors on canvas or intermingled geometric figures.  But in fact it is the color of nature, interpreted reality. Mostly they are the metaphysical ideals that are shapeless and formless.

Visual artists, from the generation have dealt with mysticism or occultism at their core, which cannot be expressed in a particular form than in geometric compositions. Ganpat Bhadke applies this method to present the complexity of nature, show harmonic relation between man and nature, man with other living things and real and mystic. All done and created in classical manner.

Apart from painting, he has diverse interest which lead him to be a part of various medias, including films and animation, where he has directed various animation films for different production houses. He also worked with writer-director Dr. Chandra Prakash Dwivedi in his book publishing projects. He has also tried his hands in publication units. It is a an awesome experience to watch the creations of this well-learned and all rounder artist.

by Pankaja JK
 Art critic & writer:- Art blogazine 2014

 

Ganpat Bhadke  who sums up existential philosophy in the visual triangulation of forms converses with Pankaja JK  revealing his passion of painting and the practical matters.

Ganpat Bhadke at Studio Mumbai

J.K.) When did you first start painting and how did your journey as artist began?

G.B.)Though I loved painting from childhood, my real journey as an artist started in 1985 painting objects during Foundation course in Aurangabad. Being in such an historical place, I tried my at hands at Ajanta and Ellora paintings for sometime. Later on as I came to Nashik for Diploma I developed skill in watercolor style. My journey began in either historic or naturally rich arenas. Here too I was fascinated by natural beauty and religious sites and I started painting that. But as I visited religious sites of ghats and on hills I became interested in nature and expressions of people or pilgrims which aroused me to capture their feature in portraiture and thus one more feature of painting- Portrait became the topic of my interest. Later as my academic path broadened and I came to Mumbai, held exhibitions, my art was recognized and I gained many prestigious awards for my landscapes and portraits.   

J.K.) How would you describe your style?

G.B.) As I mentioned earlier, I tried my hands at every style from simple objective to abstraction. All my styles have been appreciated till now. As I contemplate, it is because the colors in my paintings are transparent like oils. I am basically inspired by nature but many a times abstract paintings develop from the subjective point of view. They are mostly in geometric forms, because if you observe nature you will find that is not formless but has a particular form for each of its element. So do my abstractions have.  

J.K.)  What motivates you to paint?

G.B.) I feel this is an absurd question in my case, because I never deliberated on the topic and decided to make it a target. Anybody or anything inspires me. World is full of mysteries like the cycle and aura of nature, various emotions and feelings of people, bodily and facial gestures, human and animal approaches among themselves and other species around. All such things at any given time or place motivate me to pick the brush and capture them on my canvas. Its like, my canvas awaits and welcomes every minute element to be protagonist of my painting.  

P.K.) Is abstraction a western idea? Why is it a best way of expression in painting?

G.B.) Yes, it is a known fact in art world that Abstract painting is a western concept. But I think Indian beliefs and scriptures too have abstract concepts which were never capture as medium of expression in art. From earlier times we presented just that what is visible and in grasping power. Interpretative comprehension did not matter to us. But Indian philosophy is full of abstract idea. I will just give you one example. A stone is regarded highly as God and given there is some similarity of that stone’s form with the image of God. It secures place in temple and permanently in heart of people. So I think though it was brought in limelight by westerner, it is an Indian concept too. 

P.K.) How do people accept your paintings? Does their opinion have influence on your work?

G.B.) People have accepted me as a painter with difference. As I do not follow the foot steps of well-known artist and develop my own creations in most natural and child-like way my work is never compared to any other artist. I am not categorized as the imitator of someone. I like this sense of individuality. As far as criticism is concerned, I hardly have any negative responses. I do not spend time in brooding over them. And those positive ones of course, boost my spirit.  

J.K.) Art is for business or passion?

G.B.) First a passion and if sold –a business.

P.K.) Which artists inspire you? Can you tell us any specific feature of their paintings that holds your interest? 

G.B.)  Nature is the greatest artist. But in art circle I highly adore painter Palshikar and Gaitonde. Palshikar sir’s use of color is beyond comparison. And I also have high regards for G.S.Gaitonde for his subjects or themes. 

J.K.) What do you think would be the status of your painting 100 years from now?

G.B.) Let me put it as ‘status of Indian Art’ because I am one part of It. Being culturally rich and having great philosophy makes India stand out from the cluster of art. It has a promising future and very soon art world will speak Indian Art language

by Pankaja JK
  art critic & writer:- Art blogazine 2014
 

“Amrita Sher-Gil: The Passionate Quest” NGMA Mumbai

National Gallery of Modern Art, New Delhi, and the National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India are happy to inform that a special exhibition, ‘AmritaSher-Gil: The Passionate Quest’, developed by NGMA New Delhi on the occasion of the closing of the birth centenary celebrations of Amrita Sher-Gil (1913-1941) will be inaugurated and thrown open to the public at NGMA Mumbai on the 31st of May 2014. It is for the first time that almost the entire NGMA collection of around 95 works of Amrita Sher-Gil will be showcased at the exhibition, including many paintings that have rarely been displayed before.

Amrita Sher-Gil

The works Amrita Sher-Gill produced during her short but prolific life combined brilliant details from the scenes of everyday life in India, and created a timeless monumentality. In a tragically brief career, Sher-Gil did much to introduce her country to the idea of the free-spirited artist, and to show her people that art could interpret Indian life for Indians

She came to India in 1921, drew inspiration from the exquisite little miniatures of Kangra and frescoes of Ajanta. The figures she drew with expressions on their faces were her own invention. Amrita’s paintings were not mere reproductions of what she saw around her but visions born out of the coordination of colour, design and emotion. Visit to South India inspired her to produce the most remarkable works such as "The Bride’s Toilette", “The Brahmacharis" and "South Indian Villagers going to Market". The Brahmacharis, which was painted in , is a fine example of her understanding of the Hindu faith which is still prevalent in the traditionalist South India. She is remembered for her paintings done just over a period of seven years. But the passion with which she handled the brush and the genius with which she combined her training in the West and her view of the East, made her most popular. The sincerity of her subject and the uses of colours bring to Amrita’s paintings a quality of timelessness. Most of her paintings reflect her love for the country and more importantly her response to the life of its people. She was the youngest among the pioneers of contemporary movement and the most short lived.

The exhibition was inaugurated by Mrs Pheroza Godrej, Chairperson Advisory Committee, NGMA Mumbai in the august presence of Dr Gieve Patel, eminent poet and painter and Ms Yashodhara Dalmia, Curator of the exhibition on 31st May 2014 at 6.00 PM at the National Gallery of Modern Art, Mumbai.
Pheroza Godrej in her inaugural address said “The richness of Amrita Sher-Gil’s visual language and experiments with form and composition have been sensitively analysed by the curator, Yashodhara Dalmia, who has approached the oeuvre from four different perspectives described as Threshold, Icon and Iconolastic, Hungarian Manifestation and Indian Journey. Mrs Pheroza Godrej thanked the curator Yashodhara Dalmia for her perceptive approach to Amrita Sher-Gil’s art. She also expressed her thanks and gratitude to Ms. Manju Singh, Chairperson and members of

Group of Three Girls, Oil on canvas, January 1935

the NGMA New Delhi Advisory Committee for their support in bringing this exhibition to NGMA Mumbai. She also acknowledged the support of the members of the Advisory Committee NGMA Mumbai and the sincere efforts of the entire NGMA, Mumbai team for making this exhibition a great success.
This impressive and arresting collection of her paintings is supplemented by an illuminating display of text and images titled, Remembering Amrita Sher-Gil. This focuses on the artistic genius and mercurial personality of Amrita Sher-Gil, which have a bearing on her paintings. To further contextualise Amrita Sher-Gil’s modernism, an audio-visual highlighting the European art scene in the early 20th century, conceptualised by Ella Datta, is an attraction to this significant show.

Nude Oil on canvas, 1933

Prof Rajeev Lochan Director NGMA New Delhi, who spearheaded the birth centenary celebrations of Amrita Sher-Gil said, “The complexity of Amrita Sher-Gil’s personality and the brilliant versatility of her work invite varied reactions. Viewers remark on the sensuousness of her representations, her sensitivity, her melancholy faces and her intimate projections of a female identity. And indeed all these readings are inescapably true. I am confident that this exhibition will recontextualise Amrita Sher-Gil and her work in our present times

Marking the inauguration of the exhibition here at NGMA Mumbai Shivaprasad Khened Director NGMA Mumbai said “Bold, unconventional, hugely talented and very beautiful – the painter Amrita Sher-Gil is the stuff that legends are made of. Her paintings reveal her training in the Western schools of art, but at the same time, reflect colourfully her love for India and her response to the life of its people”.

Mapping Amrita Sher-Gil’s genius, Yashodhara Dalmia said, “her fervent journey resulted in a successful melding of Eastern and Western traditions. This paved the way for modernism in Indian art and influenced generations of artists. Sher-Gil's immense achievement is commemorated in this exhibition which also marks her birth centenary year. The works map the journey from the genesis of her art to its triumphant culmination in the last period. This consists of the essential conditions of her paintings which can be traced to the training at the Ecole des Beaux Arts in Paris, her return to India in 1934, the subsequent experiments in her work resulting from the exposure to Ajanta and Ellora and Indian miniatures as well as her last paintings which point towards another fruitful breakthrough. As Sher-Gil's attempts at modernity and loosening the shackles of academism became increasingly successful, she was to make iconic works which created a distinctive interweaving of Eastern and Western art.

“Amrita Sher-Gil flashed through the Indian artistic horizon like an incandescent meteor. Her place in the trajectory of Indian modern art is unquestionably pre eminent. Her aesthetic sensibility shows not surprisingly a blend of European and Indian elements. Her command over handling of oil medium and use of colour, as well as her vigorous brushwork and strong feeling for composition, all go towards giving a dazzling quality to her genius. Amrita Sher-Gil was already a legend as a young woman painter in the early thirties of the last century in the art world of India. This exhibition at NGMA Mumbai is accompanied by the release of a comprehensive catalogue with a lead essay by YashodharaDalmia.

The exhibition will be on view for public from 1.06.2014 to 30.06.2014 from 11 am – 6 PM, for a period of one month. (Except on Mondays and National holidays).

PRESS RELEASE
National Gallery of Modern Art
Sir Cowasji Jehangir Public Hall,
M G Road Mumbai 400032

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