Lizard Installation of Drawings by Tathi Premchand.

Tathi Premchand : 

चित्र, साहित्य असो वा शिल्प कलाकाराने आपले सामाजिक भान जपले पाहिजे. समाजात प्रबोधन घडण्यासाठी याच माध्यमाचा अवलंब करणे सोपे ठरते. त्यामुळे तथी प्रेमचंद आणि अशोक हिंगे यांनी आपल्या कलाकृतींच्या माध्यमातून 'कलाभान' जपले आहे. सामान्य माणसाच्या रोजच्या जगण्यातील व्यथा आर्ट इन्स्टॉलेशनमधून मांडल्याने काही क्षण आपल्याला प्रतिबिंब पाहिल्याचा भास होतो, आणि तिथूनच विचारांचे चक्र सुरू होते हेच त्या कलाकाराचे यश आणि प्रबोधनाची नांदी मानली जाते.

काळानुसार माणसाची जडणघडण, वागणूक आणि बाह्यअवतार सर्वच बदलले आहे. याच बदलाच्या दोन्ही बाजू प्रेमचंद यांच्या कलाकृतीतून दिसून येतात. त्यांच्या चित्रांमध्ये मानवी चेहर्‍यामधून जगण्यासाठी धडपडणार्‍या असाहाय्य माणसांचे रेखाटन केले आहे. यामध्ये चिंतनशील आणि निश्‍चल मूड कोठेही दिसत नाही. या चित्रांमधून केवळ दरारा, तणाव, विस्मय, प्रश्न आणि सल दिसत आहे. आपण आपले आयुष्य तीक्ष्ण चाकूच्या टोकावर जगत आहोत. त्यातूनही आपण समाजातील अनेक व्यत्ययांशी संघर्ष करून आपल्या जगण्याचा मार्ग शोधून काढतो. हीच हळवी मूल्ये कागदावर पेन आणि पेन्सिल यांचा समन्वय साधून उतरवण्याचा प्रयत्न केला आहे. प्रेमचंद यांनी विजेच्या बिलावर मानवी कवटीचे चित्र काढले आहे. वीज ही मानवाची गरज असूनही विजेचे दर पुरवल्या गेलेल्या विजेच्या तुलनेत खूप जास्त आहेत, जे मानवाचे शोषण करून त्याचे आयुष्य कमी करत आहेत. सामान्य माणसाच्या जगण्यातील ही व्यथा प्रेमचंद यांनी मांडली आहे.

Lokamt: Marathi 29th July 2014

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Ashok Hinge ‘Guru-Shishya’ installation work on review by Pankaja JK

‘Guru-Shishya’ installation as name suggests, is an installation that has well-known reality imbibed in it. It’s about Guru-Shishya (Master-Disciple) relationship which every individual experiences in his life. I have tried to present an ancient tradition of imparting and gaining knowledge where a master would secure higher position and a disciple would sit down and bow on his feet. These postures are symbolic suggesting that the knowledge would transcend from Guru to his devout disciple. This position also develops the relationship between guru and disciple. The vibrant energy of guru is transmitted in shishya and it ignites wisdom of knowledge in him It is the ‘Responsibility (of guru)- Dependency (of disciple)’ relationship. 

Installation Artist Ashok Hinge

This is a subtle relationship in which guru and shishya become one as a family. But this family is not based on blood-relationship, instead it is based on the particular knowledge that a guru imparts and shishya gains. So it is a family of Knowledge. It is not involuntary involvement but voluntary acceptance of relationship. 

The faith plays an important role in it. Guru is supposed to have highest knowledge and shishya should have wisdom to acquire that knowledge and utilize on individual level. 

Installation view at Art Gate Gallery

To present the Guru-Shishya tradition I have used the most effective tool of English language i.e. Comma. Comma is used in English language to have pause between sentence or to separate elements in series. It is the only punctuation mark which has upside down and vice versa position.

 I have used both positions in my installation as it makes my symbolic representation perfect. The ‘right to left’ facing comma is Guru in sitting posture and ‘left to right’ facing comma is Shishya bowing in reverence and touching his feet, which ultimately helps divine energy of guru to transcend in Shishya. 

I choose the white color for installation and it is deliberate. In Guru- Shishya parampara(tradition), both of them generally  wore white as a symbol of purity and devoid of any blemish. It’s with purity of heart and mind that knowledge is transmitted by guru to shishya.  

  Pankaja JK
 Art critic & writer:- Art blogazine 2014



26th July 4th August : 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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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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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
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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