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Art Blogazine

 Pankaja JK (Founder)

All copyright by Prajakta 2017

The principles in art which were once considered inapt have been completely eradicated with the course of time.

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)
 

December 18, Happy Birh day, Paul Klee

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.

( copy right www.biography.com )

Hinge

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.

Hinge

Curated by
Shruti Ramlingaiah



Digbijayee Khatua  |   Diptej Vernekar   |   Lokesh Khodke   |   Roshan Chhabria

Exhibition from: 16th December, 2017 - 11th January, 2018

11:30 am – 7:00 pm Venue: Priyasri Art Gallery, 42 Madhuli 4th Floor, Shiv Sagar Estate,

Next To Poonam Chamber, Worli, Mumbai 400018

New young artists who have just stepped into world of exhibitions...

Dear young and professional artists,

Kind attention!

NOW CREATE YOUR IDENTITY , INTRODUCE YOURSELF IN PROFESSIONAL WORLD OF ART AND UPDATE YOUR ALREADY EXISTING IDENTITY!!!

Artist Statement / CV / Apply Art Residency / Grant /  National Culture Fund / Art Scholarships

 

I am Pankaja JK, the official writer and editor of www.artblogzine.com and Art Gate gallery,Mumbai offers you the opportunity to develop, rewrite or refresh you and your Fine Art specializing identity to the world and among the artists, art lovers and at buyers.

New young artists who have just stepped into world of exhibitions, trying to achieve scholarship at National and International g polished according to needs of galleries, smarten your write-up on your art works and create your unique identity for minimal price. 

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It is not possible to step twice in the same river – Heraclitus

2005

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. 

2005

Text from Pomegranate Tathi Premchand Book

Text by Pankaja JK 2005

Pin Poster : Jehangir Art Gallery

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. 

Come, say hello, and smile.

BEING ‘HER’ by Swati Sabale

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.

Dr. Manisha Patil 

December 2017 Artist and Art Historian Professor, 

Art history Sir. J.J. School of Art, Mumbai