.
NON-OBJECTIVE ART
from
GANESH TARTARE
Solo show
Preview: 18th October 2022
Time: 4:00 pm - 8:30 pm/ Exhibition on view Time: 3:00 pm - 8:30 pm
19th - 28th October 2022 ( Holidays @Sunday close)
RSVP: +91 9820510599 / Nippon Gallery
Also view sale catalog on www.nippongallery.com
NIPPON
30/32, 2ndFloor, Deval Chambers,Nanabhai Lane, Flora Fountain, Fort,
Mumbai – 400 001, India.
Artist: Subhash Awchat
Why is that so ? Why is
Subhash Awchat prized as the artist of India's second largest state by the
populace? Why do I feel an inclusion within the popular idea of culture ,
with my host culture , as a writer of this essay a privilege.? Subhash
Awachat has designed 7000 jackets of books published in Marathi . If you
read in Marathi you have encountered his visual vocabulary. You know his
strokes , you know his palette and the way with which he treats
colour . He is the artist of my people , the people I live
among. It doesn't surprise me that his column in a popular Marathi
newspaper is well subscribed. Marathi as a language has a rich repository
of literature but the intrigue exists in the passion to translate books from
other languages to Marathi and publish for eager readers. One that
sustains such publishing practices economically. You can encounter
Gilles Deleuze , Jose Saramago , Gertrude Stein and John Berger in
Marathi. Translations not intended at a market but the need to read and
change a society aware of the significance of its language
holds as a catalyst of modernity . Mahatma Jyotibha Phule through
his writings proposed the idea of modernity much before similar deliberations
in the occident and Dr. BR Ambedkar sought a constitutional architecture
for equity in a nation riddled with caste. Both hailed from Maharashtra, a
land conducive to intellectual change . Art History in
our art schools in Maharashtra does let students in Sangli know of
the ' Oath of Horatii ' by Jacques Louis David which hangs at the Louvre through efforts of
this tradition of translation. I recently witnessed a friend identify
paintings at a distance at the Louvre even though my privilege of an English
education did not allow or inform .
Subhash Awchat holds a unique privilege within the context of contemporary art history less discussed and investigated. We stand at a time where our memories hold a past that does not critically examine the recent decades that precede us. We are embarrassed of the fashion, music and the movies that define a decade of great confusion. The 1990s released India from the cloak of a stagnating economy loosely defined as socialism . The 80s were a lost decade of turmoil , bureaucratic intrigue and a failing idea of India. Artists like Subhash emerged at the end of an era of pessimism. Subhash was designing the jackets and typesetting the publications of the Dalit Panthers and in his art making the ' Hamal' or the porter his muse. He opened his show romanticising the image of the subaltern man , it was beautiful , it was decorative . Why so? Bal Thackeray, a cartoonist and the son of a Marathi playwright, became the voice of the pushback of marginalisation of a people ignored by a cosmopolitan culture Naipaul described as a mimicry of colonial tropes. Vijay Tendulkar in his plays had been discussing gender and political violence and thus became the conscience of the cultural elite who were engrossed in opposing ideologies as well the tumultuous 1990s where we suffered bouts of communal violence and division. We were in an immense flux culturally , politically and economically. India had liberalised , we had cable tv , we had just got to know the internet . Modernism was representative of the old order. I had just drunk my first Coca Cola and we could buy Japanese cars with air-conditioning. The upper middle class found jobs in foreign corporations that were selling us material goods and dreams of participation in a global world order. Awchat emerges as an artist at this moment.
His stories are intimate; they revolve around his deep intimacies with Marathi writers, Bal Thackeray's views on the Bombay School of Art , friendships he held with Narayan Shridhar Bendre and KK Hebbar. The moments of success and journeys into the interior of Maharashtra with Sharad Pawar who would remember the names of a million or more constituents , eat in homes in villages only Pawar knew the way to and directions that confused his security detail . What it meant to be among the people. He was the painter to the resurrection of a people who were asserting their place in politics through the actions of Bal Thackeray and Sharad Pawar and we became Mumbai from Bombay .
Much of these happenings have
been ignored by the society I come from. They inhabit a safe space of privilege
called South Bombay. But Awchat infiltrated their collections and circles
. He came from the applied arts
and was not a trained painter from the Sir JJ School of Art. He was not
restricted to a school or an aesthetic agenda that he had to play out in his
works to prove his mettle as an artist. Rather the act of being an artist
enticed him. A multifaceted technique and aesthetic defined his
practice. You see him work with landscapes portraits and
abstracts - all of them have poetic titles.
We now face an artist with age
. Loneliness is a facet of time. The pandemic allowed us to face
our interiority with great intimacy . Awchat was left alone without
access to his acrylics or his canvases. A pad of watercolour paper was
all that he had access to. A pad gifted to his grandson and for colours
he had basic watercolours that were fabricated here in India. Tired of
marathon calls and attempts to escape the quarantine he began painting
watercolours for the first time. These were landscapes he had sitting
somewhere in his mind. The Lebanese artist Etel Adnan wrote poetry
of deep detachment, pain that is inherent in the nihilism of Levantine
Politics. Syria , Lebanon and Palestine are lands divided by
religion , race and at times language to suit the interests of the great powers.
These conflicts have a deep impact on the lives of people who author poetry
, art and cinema. Her landscapes may seem childlike but they
are intense witnesses of both nostalgia and happiness one imagines of the land
to which they were born. Watercolour is a medium that needs great
dexterity. The command on colour and form-forming is urgent when the
brush touches the paper you need to draw with water or the images
turn to smudges. Awchat displayed much ability in handling colour and
form. He changed his palette.
Illness in old age is always a
transformation. In his later years Henri Matisse used pre-painted
gouache cut-outs to make formidable forms that we seem to remember him
with today . Physical disability allows an artistic mind to find forms
that are relentless in their expression. Subhash has spent time near a
lake in Bhor on the Western Ghats of Maharashtra. This plateau-esque
terrain with valleys and a reservoir is stationary in time. Watercolours
from here capture Awchat's view of the Sky as blue. He sees homes dwarfed
under the horizon of the Sun. His monk-like figures run under colourful
buntings that have affinities of form with geometrical abstraction. We
realise how he uses space in his canvases; a particular work divided the paper
into a palette of pastels . He is not using ochre . Brown is not to
be seen . Bright Yellows , Pinks and Light Blues fill spaces where
he doesn't find forms. A social person finally finds in the
landscape a form to draw solitude.
I have always wondered what and how artists will depict the pandemic. We are far beyond the ugly forms of the bacteria that artists drew up during the pandemic . For me it was a time of deep contemplation , seeking my faults and imagining myself who I would be if I survived in times when I lost loved ones , those were bleak reminders of our mortality. Subhash Awchat sought solitude , he wrote about his mind in newspapers at a time when he had no memory of his childhood. He is presently reconstructing it through photos sent by friends and stories told to him by his sister. But his present series of watercolours is a reflection of time, its structure not measured by a watch but one that is witnessed when we fall humble in a magnificent landscape. In French we would say ' aquarelles au fils du temps' or watercolours over the passage of time.
Art & Soul Editorial
From: 13th October to 15th November 2022
AU FILS DU TEMPS | OVER A PASSAGE OF TIME
AQUARELLES BY Renowned artist Subhash Awchat
VENUE:
Art & Soul
11, Madhuli, Shivsagar Estate
Worli, Mumbai – 40018
Contact: (022) 2496 5798/ 2493 0522 / 8080055450
Recent work of a renowned sculptor from Baroda, Asish Kumar Das will be showcased in a solo art show at Jehangir Art Gallery, Gallery AC-2, M.G. Road, Kala Ghoda, Mumbai 400 001 from 11th to 17th Oct. 2022 between 11 am. To 7 pm.
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| Artist: Asish Kumar Das |
Baroda based 56 years old, Asish Kumar Das, is one of the outstanding sculptors working in India today especially in the domain of using human figures and animal imageries. Presently we are witnessing in our country the phenomena of projects like installations and such ventures which require collaboration of creative artists as well as technical persons or undertakings where deliberately assembled artists and traditional craftsmen just put together some hybrid patchwork. Amidst such an environment, Asish Das stands out as a multi faceted sculptor who has expertise in all aspects of the bronze casting processes which continues to be his medium for his fascinating, stimulating, captivating, mind arresting sculptures. His works are as much complicated in terms of bronze casting and finishing processes as much as they are intriguing in terms of conceptualization. For an artist with such in depth and subtle creative thinking, it is commendable to observe how he manages to sustain his creative impulses through the long complex technical procedures involved for its concretization or objectification.
Asish Das has intense empathy for the natural animal and human forms so that he does not take recourse to distortions, though he modifies the proportions as required to give them the anticipated elongation, slimness or slight attenuation at the body joints. Consequently his animal and human bodies are graceful with discrete modelling, we as viewers could call them ‘lyrical’ or ‘sukumar’ , corresponding to the ‘Kaishiki Vritti ‘ of Sanskrit language. However they are also ‘serious’ or ‘solemn’, i.e. ‘Gambhir’ or possessing ‘ Audharya ‘ , dignity. Although apparently Asish Das portrays aspiring human beings engaged with daily existential activities in their lives in this world, yet he does not take recourse to oppressed or suffering imageries. The human figures, their faces, limbs, draperies are very patiently modelled in clay and subsequently “hollow casted” in bronze metal using, “the lost wax” process. This technique is often quite complicated when the sculptural form has additional details, such as projecting elements, which require separate channels for pouring hot molten metal during the casting stage. Even when he portrays elegantly modelled animal forms, they too reflect the human aspirations theme, by transforming their faces into those of humans.
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Actually the human aspirations as Asish’s thematic concern, are also implied in several sculptures in which the human figure is sometimes associated with a bird, thus a bird like form with long beak is attached around the waist of a man (see ‘The Royal Flight’). Or the man is attempting to fly like a bird, thus he rises on his toes, giving an agile stance to the rising figure. A pair of small metal wings is attached to the shoulders (see ‘The Feminine Upthrust’ ). Alternatively a large pair of wings, shaped in wood planks is hinged with the bronze casted upper back, giving an impression of powerful wings (see ‘The Blissful Draught’ ) . Here we may also draw attention to Asish’s amazing sensitivity of ‘detailing’ such as an exquisite small bird motif with spread out wings, which are delineated on the human torso and the limbs and given buffed polish, so that they shine like gold, amidst the contrasting greenish colour of the patina. In the “ Vanquishing Thought – II”, the figure stands on the toe of left leg with raised right leg, as if the figure is already air-borne. The spread out arms have the gesture of releasing an arrow from the bow. A thin metal sheet covers part of the groin in the front and spreads behind the back as a foil. This metal sheet is perforated with cut outs of the same bird form in fine contours, creating a pleasant contrast with the glittering bird forms on the body. No doubt to render these motifs with finesse requires special skills, which the sculptor has inherited from the fact that he belongs to a family of jewellers. At the same time, this design motif of the soaring bird has a creative purpose which is metaphorical.
Asish’s ingenious command of the balance in his sculptural forms is marvellously arrived at in the manner the human body is placed horizontally in mid space supported by a spiral form in the circular centre of which is placed the three dimensional earthly globe ( see “ Frolicking with Nature”). Another unique example is that of a human figure in dynamic upside down position like that of an acrobat supporting the base or the earthly surface with thumbs of each hand. In this case also spiral form serves as the base ( see “ Bonded with Nature”, bronze and aluminium).
The human figure metaphorically transformed by adding some kind of drapery ( as part of a particular type of costume) along with some details attached to it, thus the associated accessories implying a certain expression or a type of specific character, has been explained by Asish himself, as an unconscious reflection of having seen in his childhood in a Bengal village, the folk actors impersonating a typical character wearing appropriate costume and facial make up, such as long hair and beard. The folk actors are called “ Bahurupi”, thus some of the sculptures comprising of nearly full size human form, are like a “ Bahurupi” impersonating a “ character”. ( see “ I Pave My Destiny - III”).
The combination of naturalism and simplicity with a certain eternal calmness of Asish’s sculptural works, also remind of similar qualities in the ancient Egyptian monumental sculptural forms. The easy flow of line along the contours of simplified abstracted volumes of the Sarnath Buddha images of the Gupta period ( 5th and 6th centuries) is a quality of India’s great classical sculptural style, that has apparently been unconsciously absorbed by Asish Das in his sculptural forms. His handling of delicate surface modelling of the human body along with the equipoise of the human form, links his sculptural forms with the early twentieth century Bengali sculptor, Fanendranath Bose, who had been commissioned more than half a dozen sculptures of Indian male and female workers by the late Maharaja Sayajirao Gaekwad. Asish Das’s work, through the last three decades, has grown and matured consistently in a meaningful direction with surprising variations and creative innovations.
- by Ratan Parimoo
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From: 11th to 17th October 2022
“The RHAPSODY 2022”
An Exhibition of Sculptures by Renowned sculptor Asish Kumar Das
VENUE:Jehangir Art Gallery
161-B, M.G. Road,
Kala Ghoda, Mumbai 400 001, Timing: 11am to 7pm
Still-life as a subject matter has always interested artists not only to understand the physicality of an object but also how that object becomes an extension of our body and memory. But how does an artist standing at present looks at an object and stillness both physically and conceptually?
Santosh's large 7'x9' acrylic on Canvas painting named 'Still life' is a confluence of memories, experiences, and realities. But the question here is what kind of stillness is the artist referring to? Is it just the visual stillness or this stillness is to identify the sudden pause we all are going through. The multiple encounters that the artist is trying to narrate through all these stilled objects and gestures do this lead us towards the stillness before a storm or all these objects with encoded meanings are the result of a huge storm. This large autobiographical painting of Santosh travels between the duality of past/ memories and present/experiences.
Artist: Santosh Kalbande / Title : Still Life Size : 7x9 feet / Medium: Acrylic on Canvas
The artist as protagonist introduces himself in the painting making a gesture of peeping through the spyhole, amplifying the idea of stillness as if the artist is caught in between the action. But what does this gesture of looking suggests? The exertion of looking from a personal/secured space to a public unknown domain adds a sense of tension. This anonymity of who or what is on the other side triggers the theoretical mystery in the painting. This action of peeping from a private to a universal area acts as a metaphor which he repeats multiple times. He tries to bridge and connect his personal and childhood memories of conflicts with the current socio-political situations around him. There is a constant negotiation with inside-outside, memories-experiences, conflict-silence, violence-rights running throughout this painting hidden between each layer. The artist very thoughtfully creates the composition in such a way that the viewer automatically becomes a part of his studio space. The inclusion of audiences makes them the witnesses of the fabricated situation.
The monumental structure of accumulated objects on the right side of the painting draws one's attention in various layers. Our eyes strike at the colorful patches representing godhadi a hand-stitched blanket native to Maharashtra, made by Santosh’s mother during the lockdown. According to Santosh “.… to me, this godhadi shows the diversity of our country and tries to stay together no matter how different we are from each other, but how difficult it is to stay together I realized from the present situation.” Creating godhadi with old used clothes is a very common household practice in our country. But Santosh here refers this act of stitching old memories together to create a new identity and object to build fresh memories as a metaphor. While stitching these layers his mother used to share her experiences of the changing socio-political situations and composed poems that became his inspiration. One can identify the dairy of poems as a part of the still life on top of the chair. It acts like a stage/platform/podium for the homemade kerosene lamp. Using these typical household objects Santosh almost personifies them to narrate the struggle one goes through during a conflict. He also mentions- “The Glass bottles on the chair are from my studio, but after arranging it differently, they started looking scary.” What happens when a simple household object becomes a reason for conflict? What draws attention next is the blood-stained stones inside a transparent glass bottle and the blood splatter on the shirt hanging on the clean and white wall.
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That blood-soaked shirt belongs to his father who unknowingly became a part of the violent mob in the ’80s while Santosh was growing up. The shirt became a memento to represent that memory. He juxtaposes all these tiny motifs from the past with the present events of violence he noticed around him. This occurrence left a deep impact in Santosh’s psyche, as a result, the relationship with these daily life objects has changed into a terrifying memory. The matchbox pack placed below the bottle bomb conveys two stories, one to light the kerosene lamp or two to fire the bottle bomb, which he leaves us to chose. Placing a chair on godhadi he tries to underline the politics of the object- chair and the importance of power structure. There is another jar placed on the table carrying clean stones. Santosh again gives space for his viewers to decide whether the clean stones are washed after being used as a weapon or are waiting to be the next weapon.
The reference of the table on which the whole structure rest is taken from the government office where his parents used to work. He adds “We often go through different experiences on and under the table in a government office”. The experience which he is talking about is hidden under the object. The face of the lion is towards the shadow. According to Santosh, this lion is a representation of the fourth pillar of democracy. He questions the efficiency and importance of the fourth lion by painting it in the form of a soft toy. The almost negligible wire with a socket painted at the background, is a source which brings in both positive and negative information and it's also the only source of connecting the artist with the world during this pandemic. With so much going inside the room the walls one may observe are clean and white. Is this intentional? What does a white cube/space denote? Could it be any space? Could it be your space/story? Have those whitewashed walls buried the evidence of violence? Santosh once again leaves us with this conundrum.
Traveling through Santosh’s large painting, one has to halt at various stoppages to explore the scrupulously navigated metaphors. And as discussed at the very onset of the note the conception of the term still-life is not just limited to being the title rather it is the point of departure.
Arpita Akhanda
Santiniketan
2020
@artblogazine
#artblogazine
#mumbaiartist
Recent Sculptures of Akhil Chandra Das
Akhil Chandra Das is a very important sculptor of our country, who evolved his own form during the end part of the decade of 1990-s. Based in Kolkata where he was born in 1968 he has extended his field of work throughout India. An M.V.A. in sculpture from M.S.University, Baroda he has assimilated in his works the traditional indigenous norms with the contemporary global values. He works mainly in mixed media of bronze and wood along with few other mediums. His works are primitivist, fantasy-oriented, very often inclining towards surrealism. Through these formal structures he posits deep-rooted rebellion against social decadence, cultural hypocrisy, exploitation of various kinds by capitalist powers and erosion of moral and social values. He develops his form from his serious commitments, sympathy and love towards humanity. The decadence of human values during the contemporary times disturbs him to the core of sensibility and the pain generated out of it is developed into his sculptural forms.
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| Artist: Akhil Chandra Das |
His first solo exhibition was held at Jahangir Art Gallery in 2002. But his participation in various important group-exhibitions started earlier. He has participated in several group shows like Harmony show, National Exhibition and Time and Material show organised by Aakriti Art Gallery, Kolkata and Art Konsult at Stainless Gallery, New Delhi among others. He participated in Gen Next I and II exhibitions organised by Aakriti Gallery in 2006 and 2007 respectively. He received junior scholarship of Lalit Kala Academy in 1999-2000, Lalit Kala Research Grant, 1995 and National scholarship 1995-1997 and 2000. All these participations and achievements indicate the excellence of his talent as a young artist that has developed to the full during the later course of his progress.
Since the emergence of modernism in Indian sculpture primitive form and technique have played a vital role in devising the identity of sculpture. The works of two pioneering artists in this field, Ramkinkar and Meera Mukherjee are very much exemplary in this context. During the decades of 1940-s 1960-s the sculptors tried to assimilate the indigenous classical forms along with the Western modernist trends. A serious urge to build up an identity through synthesis of local and global values has made the sojourns of our sculpture very significant making our sculptural forms vibrant and unique. During the decade of 1990-s our social values have changed drastically owing to emergence of economic globalisation and assimilation of post-modern world outlook. The forms and expressions of sculptures have also changed considerably since that decade. Conceptualism has turned to be the general trend of expression. Use of multimedia has also been a trend.
The sculptures of Akhil Chandra Das show all these trends of 1990-s. We may look at a few of his works to have an idea of his forms and philosophy. His forms express the agony that the contemporary life contains. Along with this agony there is also an ecstasy to surpass the limits of existential dilemma and to be united with the unbounded expanse of the universe. In one of his works he builds a beast very much disproportionate in physical structures that cries in extreme agony raising its two hind legs. It reveals fantasy that turns to be the symbol of existential pain. A creature with human body and head of a buffalo walks holding a horn of the beast. Here fantasy is transformed towards surrealism. In another piece a calm and contemplative human being stands. His hands are extended to indicate his submission to the divine. There are parts of circular forms scattered throughout his body that may be taken as the symbol of universal infinity.
Violence is expressed in various forms. A semi naked man stands on a wooden platform. He has chopped off his head with his own sword. He holds the sword with his two hands and raises it over his body. On this sword are placed three human heads arranged side by side. This is a form of surrealist fantasy that indicates the severity of violence presented in a plaintive disposition. In another piece a bearded saintly person stands on a platform. His body is covered with a sheet of cloth showing meticulously arranged folds of drapery. In his right hand he holds an ascetic’s bowl, which in Indian terms known as Kamandalu. The saint is proceeding towards worship or meditation. Here is an expression of spirituality very much Indian in nature.
Thus the sculptor Akhil Chandra Das postulates two opposing trends in his expressions. One is violence and the other spirituality. Being very much ingrained in indigenous spiritual values he extends his form towards a kind of rebellion, where he drastically lashes at the rotten reality of the contemporary times. The simultaneous assertion of these opposing values is a unique feature in his expressions whereby he attempts to realise the existential dilemma of the contemporary world.
By Mrinal Ghosh.
28. 09. 2022.
Address: 161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001
Hours: Closed ⋅ Opens 11AM Mon
A group art exhibition showcasing the paintings, sculptures and graphics of 5 contemporary artists from W. Bengal will be held at Jehangir art Gallery, M. G. Road, Kala Ghoda, Mumbai from 13th to 19th September, 2022 between 11 am to 7 pm. It will reveal their unique artwork in various styles, mediums and techniques to illustrate the vivid realms of life. This show will be inaugurated by Prof. Vishwanath Sable, Dean, Sir J. J. School of Arts, Mumbai on 13th September, 2022 at Gallery on 2, Jehangir art gallery Mumbai in presence of the renowned guests of honour such as Geeta Nallani – Founder and CEO, YOU ART, Lisa Pingle – Owner / Curator – Mona Lisa Kalagram, Pune, Indranil Garai – Art consultant and sculptor, Principal Associate – I.G.A. Pune and others.
The participating artists in this group art exhibition are:
Tanmay Banerjee, Kabari Banerjee Mukherjee,
Arup Kumar Das, P. Partha and Pradip Ghosh.
Tanmay Banerjee: His sculptures in Bronze illustrate animals and other subjects which are inspired by rural life of Bengal and culture in that region. These are out of our daily life observations. He has tried to put forward their forms and emotions through his sculptures of Bull or Nandi - an animal which is considered as a symbol of strength, power and the carrier of Lord Shiva etc. His works are creative and appeal to all due to their aesthetic standards and visual perspectives.
Kabari Banerjee Mukherjee: She has made paintings using tempera on canvas. Her theme denotes old people spending their leisure time to fulfil their hobbies and doing the things they love. Her paintings try to put forward the emotional aspects of such characters in a simple and lucid style of expression.
Arup Kumar Das: His works reveals the vignettes of the vivid realms of village and urban life in Bengal and nuances of their emotional aspects on a rational plane. His style and techniques are very much appealing to all due to their uniqueness and simplicity as well as aesthetic quality.
P. Partha: His sculptures illustrate the combination of Beauty and Mysticism to comprehend the alluring forms of work such as “Ganesha” “Cactus” etc. He has developed his own style and techniques of creating of sculptures. His works reveal the artistic amalgamation of form and the untold stories of daily life in the relevant perspectives of art.
Press Release
From: 13th to 19th September 2022
An Exhibition of Paintings, Sculptures & Graphics by
Tanmay Banerjee, Kabari Banerjee Mukherjee,
Arup Kumar Das, P. Partha and Pradip Ghosh.
VENUE:
Jehangir Art Gallery
161-B, M.G. Road, Kala Ghoda,
Mumbai 400 001
Timing: 11am to 7pm.
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| SAVE DATE 17th of September - Preview Night ROHIT KALE solo show @_rohit.kale Overjoyed and proud to share the achievement of art exhibition titled “REPRESENTING PHENOMENA” Preview night is on Saturday, 17th of September between 5:30 pm to 9:30 pm at Nippon Gallery, Fort, Mumbai. Pleased to have your presence and expect your warmth and guidance at all times. Do join the celebration. On the 17th of September, look forward to seeing you at the preview night. Note: The exhibition’s preview night is on 17th September and further exhibition is available online to view on the gallery website: www.nippongallery.com from 19th September till 26th September 2022. You are requested to wear masks when entering the gallery. Rohit Kale: RSPV: +91 84830 73958 Nippon Gallery: RSVP: +91 9820510599 - Moderator by Sanchita Sharma - New Delhi NIPPON 30/32, 2nd Floor, Deval Chambers, Nanabhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India. Love & Regards Always! RSVP NIPPON TEAM #nipponsolo #mumbaiartweekend #artmumbai #mumbaiartist #rohitkale #kalaghoda #mumbaiartparty #RohitKale #nippongallerymumbai |
