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| Do come and SAVE DATE Formless in the Form solo show of works by AKIE YANAGISAWA Healing Art with soul from a Japanese artist Preview Night: Solo show 29th November 2022 Time: 5:30 pm - 8:30 pm onwards 29th November to 6th December 2022 Exhibition Time: 3:00 pm - 7:00 pm RSVP: +91 9820510599 / Nippon Gallery: Sale enquiery on info@nippongallery.com NIPPON 30/32, 2nd Floor, Deval Chambers,Nanabhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India. |
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| Do come and SAVE DATE Formless in the From solo show of works by AKIE YANAGISAWA Healing Art with soul from a Japanese artist Preview Night: Solo show 29th November 2022 Time: 5:30 pm - 8:30 pm onwards 29th November to 6th December 2022 Exhibition Time: 3:00 pm - 7:00 pm RSVP: +91 9820510599 / Nippon Gallery: Sale enquiery on info@nippongallery.com NIPPON 30/32, 2nd Floor, Deval Chambers, Nanabhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India. |
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A national level group art event Artival 2022 is being held at Expo Centre, World Trade Centre, Cuffe Parade, Mumbai on 11th, 12th and 13th Nov., 2022. It will showcase about 3000 artworks created by 300 artists from various regions of our country under one roof. The vivid participating artists are from different regions of the country having diverse backgrounds and culture. It is the intense urge of these artists to display their artworks alongwith those of master artists on a common platform in order to reach the prospective art collectors.
Different mediums and techniques have been used by the artists for their artwork, the prominent among them being oil, water colours, acrylic colours, charcoal, pastels, pen & ink, mix medium, marble, bronze, metal, fibre, wood etc. in realistic, semi-realistic and abstract styles. The art work presentations will include paintings , sculptures, artefacts, murals, installations etc. the numerous works will cover a wide range from traditional/ monumental/ spiritual/ historical heritage to landscapes, seascapes, urban and rural cityscapes, beauty of nature, tribal and folk arts and many more aspects including their modern versions.
The organisers intend to search obscure talent in different regions of India and promote them and their artwork through this event on a global level so as to reach the international art market.
Participating Art Galleries include:-
Chitrakathi Art Gallery, Mumbai, The Indian Gallery, Mumbai, I Quest Gallery, Mumbai, Aakar – A Contemporary Art, Kolkata, Urja The Art Gallery, Mumbai.
Participating Artists in this art exhibition include: Dilip Patil, Deepak Thakurdas, Prakash Ghadge, Padmanabh Bendre, Vitthal Hire, Shashikant Patade, Bhiva Punekar, Ashif Hossain, K Sadaf, R.C. Sharma, Nilesh Nikam, Devendra Nimbargikar, Dr. Shefali Samir Bhujbal, Dnyaneshwar Dhavale, Vaishali Ingle, Vaishali Desai, Sumana Dey, Reshma Shirke, Pratibha Goel, Neeta Verma, Vishal Sabley, Vishwajeet Kumar, Shalu Puria, Mita Vora, Seema Shah, Ishita Biswas, Bonobithi Biswas, Milind Thakur, Pankaj Naik Nimbalkar, Prajakta Ponkshe, Pallavi Nagwekar, Krishna Prakash Jagdale, Manjiri Joshi, Pavan Kumar D, Shrikant Poddar, Muskan Sagar, Mitlesh Sharma, Dr. Kashinath D.W, Satishkumar Wallepure, K.S. Kamatagoudar, Dr. Ashok Shatkar, B.N. Patil Kalaburagi, B.V. Kamaji, Meenakshi A.S. Guttedar, Nisha Singh, Tanishka Soni, B.R Uppin, Rajashekhar S, Kishor Kumar, Sanjay Kanihal, Milind Thakur, Mandar Khot, Yogita Arute, Sumant Shetty, Seema Arolkar, Kalpanand, Jui Bhagwat, Amita Acharya, Jyotsna Sonavane, Ravi Rahate, Seema Hadaoo, Gayatri Bhapkar, Namrata Goradia, Ram Rokade, Arjun Machivale, Mahesh Kadam, Rupesh Patil, Vaibhav Thakur, Namdev Patil, Nandkumar Thorat, Jayashree Savani, Santoshkumar Patil, Parshwa Nandre, Shailesh Gurav, Rohit Parab, Paneri Punekar, Kaustubh Kavathekar, Madhura Kulkarni, Mona Jain, Gautam Das, Sandeep Parkhi, Himanshi Rajawat, Anjali Kshirsagar, Murali Kumbhar, Yogesh Barve, Vijay Upadhye, Chaitanya Dalvi, Akshay Jadhav, Gorakh Gholap, Shrirang Badve, Rati Bhargava, Deepak B. Patil, Rahul Kirdak, Dhammapal Kirdak, Ahsan Abdul Rahim Ansari, M. Imtiyaz, Manoj Sonawane, Anil Chaugule, Anita Hasurkar, Govind Sirsat, Nanda Pathak, Janhavii Bhide, Sohnal Saxena, Dr. Jaai Karnik, Manisha Ogale, Varsha Sheth, Suvarna Bare, Rekha Thombare among others.
Press Release
From: 11th, 12th, 13th November 2022
"Artival Art Event 2022"
Modern & Contemporary Art Event
Expo Centre, 1st Floor,
World Trade Centre,
Colaba, Cuffe Parade, Mumbai 400 005
Contact: 9920804573 / 9833949788
Timing: 11am to 7pm
The surfaces of Ramesh Thorat's paintings are meticulously constructed of innumerable fine marks, accumulating into expansive fields, auras, and halos. The layering and build up of these repeated marks create a deep and immersive drawing surface, whose radiant bands and shapes are suggestive not only of light and its absence, but also of spatial depth and the emanation of sound, breath, and vapor. The abundant, repetitive marks also recall writing and script in addition to notions of a chant or a mantra. In his fourteenth solo exhibition, the Pune based artist presents an exceptional body of work completed over the last two years. The meticulously prepared black or white grounds impart a sensation of depth with extraordinary mastery, labor, and devotion to exploring the essence of our existence. Thorat carefully marks these surfaces with brush, cloth or roller and in a few pieces, even with coconut coil. Thorat’s canvases can neither be described as paintings nor defined as drawings. It is as if he has divested the canvas of all its painterly associations and returned it to its natural state as cloth from which an image, neither depicted nor delineated, imperceptibly emerges. The shimmering surface entices the spectator towards a veil traced in a concentrated, viscous suspension of rich pigment that dries to a uniformly flat finish with a barely perceptible incidence of randomly distributed pores. Thorat typically immerses himself in one of the larger canvases for several weeks, executing the brush in a slow dance around the canvas, which is laid on the floor, or by bending into it as if in prayer. These are not fashionable gestures toward shamanism, but part of a practical process that has evolved naturally over the years. In his earlier work the marks with which he created patterns on the canvas were composed of minute sacred symbols, repeated like a mantra. In the more recent works, symbols and forms are dissolved and light is released.
The chants in Thorat’s paintings
visualizes the movement of breath as mist expanding, contracting, and
shimmering as a vocalist offers invocations from different cultures and
religions. On approaching the different works the breath of the spectator
merges with that of the vocalist, momentarily sharing breath of different
cultures. Symbols are taken from rituals and incantations from Maharashtra viz.
Gondhal / Jagran, these dramatic narrations of mythological stories and folk
legends are repeatedly laced into luminous surfaces, uniting the form and the
image into a meditative visual experience. Each painting is built up of
delicate webs of pigment on a white field. The differing patterns of markings
are composed of words in loosely formed script that remain unknown to the
viewer. Thorat makes each minute form so abstract that the word becomes
deliberately unintelligible. Here, he brings to light the concept contained in
many religious texts that creation began with word. Markings in most of the
works extend out from an open center; they undulate upward and outward in all
directions, expanding far beyond the limitations of the canvas. Works such as
these are particularly powerful in that their dimension becomes irrelevant. In
contrast, in the small work, the markings emanate from a single point.
To experience the subtle power
of these pieces, one must view them at numerous distances and under different
lighting. The process of viewing becomes an experience of unveiling. At each
distance, further markings become visible. While some of the pieces have more
easily discernible markings, the ones in which yellow lines were placed on
white ground become manifestations of pure sunlight. Although these particular
works show upon close examination equally minute markings, the yellow color on
white makes them ethereal and diffused. While all the titles of the work in
this exhibition are enigmatic, these are particularly so as in luminous
darkness. As the yellow markings hover into light, it is hard to discern yellow
from white. One senses that the sizes of these canvases relate specifically to
the head, the upper body, and the whole body. Furthermore, some of the
placements of markings within a given work also capture these proportions,
adding another layer of interpretation to the viewing experience. Since Thorat
sits with the works on the floor in order to create them, they retain a
dimension of intimacy regardless of scale. Thorat’s oeuvre embodies a profound
quest and spiritual transformation. Going toward an ever unfolding center,
these works reflect the very essence of our existence as fluid and intangible,
and are about the notion of presence. In his latest works, Thorat seems to
create a matrix, like a tartan of experience, a temporary barrier to go toward.
It is as if he worked through a whole cycle of transformation beyond the
concept of death and then reached another level of existence, another dimension
to penetrate. In this exhibition he does not include any direct references to
that body of thought. The spiritual source for his artwork seems more
inclusive. While confining himself to a precise visual vocabulary, Thorat
succeeds in creating remarkable works of art with exceptionally insightful and
illuminating experiences of the infinite nature of our existence.
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On entering Ramesh Thorat’s
studio, one saw what appeared to be a group of monochromes some black, some white,
and all square installed in contrasting groups of large and small works. As one
drew nearer to several of the paintings, however, one began to discern the
presence of spirituality, meticulously transcribed onto the canvas in paint or
pigment, where they proliferate like coral. From any distance, the work seems
to illustrate perfectly the observation that abstract painting is a form of
mysticism. But just as important, Thorat has produced convincing monochrome
field paintings that refine and intensify post-painterly abstraction to uncanny
new perceptual effect. Even more crucially, at least from the viewer’s point of
view, Thorat’s paintings are unabashedly aesthetic, indeed beautiful. Under the
auspices of spiritual idealism, these works become formally ideal. Like
abstraction, beauty has also been thought to have mystical import, which is,
regarded as a mode of transcendence and self-recovery. Thorat’s works restore
spiritual feeling to abstract painting, His canvases seem to picture a
perceptual epiphany, and the moment that spirit becomes manifest and one
realizes that there is a center to existence and to one’s being.
Thorat’s titles make clear as
well that he is in pursuit of what has traditionally been called the sublime;
for his, beauty is its surface. The physical experience of approaching his
paintings, then, is in effect a spiritual experience, that is, a process of
initiation and revelation. From a distance they look like blank slates; as one
gets closer one sees the more or less clear mandala like, peculiarly dense form
embedded in their seemingly amorphous surface; and up close one discovers the
intricate, excited, minute detail. The emerging center comes to represent the
ritualized concentration necessary for inner illumination. Equally important,
from a purely painting point of view, Thorat’s works show a patient
perfectionism that seems increasingly rare today and thus all the more
admirable.
- Abhijeet Gondkar
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Publish in Art Blogazine digital Magazine 2022
SAKSHI GALLERY
3rd Pasta Lane,
Colaba, Mumbai 400005
India.
Timings: 11am to 6pm (Mon - Sat)
Closed on Public Holidays
Non-objective art and the Avartana: the repetition… Non- objective art or abstract art in India has its followers; some as artists and many as collectors. Non-objective art is a visual language of forms, colours, textures and many a times it goes beyond. In case of Indian modern art it is difficult to identify the first Indian modern abstract painting.
As we all are aware that Prof. Sankar Palshik
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| Non Object Painter - Ganesh Tartare |
His experience of understanding of nonobjective art as an academician is reflected in his work.
I think that the paintings of the above mentioned maestro have a somewhat unique technique to apply the pigments on canvases. The technique of colour application is an unavoidable aspect of nonobjective art, at least in the case of Indian art. The colour application by using knife for impasto is common... Some are using printing rollers… some are using printing squeeze technique… some painters hit the colours with a mighty splash… some create effects by dropping dots from a distance on paint surface; In short, every artist has developed a method to apply colours on canvas. These techniques help artists to create signature visual formal language. Repetition of technique is considered as an important aspect of the artists’ style. Many artists usually repeat the techniques, like chanting mantra popularly called as ‘Avartana’; though colour pallets are changing. In this regard, another feature we can observe is the creative design pattern developed, created or adopted by non- objective artist.
The pattern becomes the signature of an artist. At the beginning of the artist’s career, he or she researches in visual possibilities, makes combinations, tries amalgamations. After a certain level, he or she achieves some known-unknown visual efforts and introduces the same as his work of art. After all types of success, the artist starts repetition of his visual discovery… the formal research. The experimentation and research becomes minor and the technical craft as well as production becomes major part of the artistic creation. I would like to raise a question that ‘whether these repetitions or ‘Avartana’ are fine for artists and art?’ The answer may not be in black and white… but the question is a reality.
Dr. Nitin Hadap
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| Art Open Talk Montosh Lall and Ganesh Tartare Link to Play https://youtu.be/a_Eu5FoCpXQ |
NON-OBJECTIVE ART
from
GANESH TARTARE
Solo show @dr_ganesh_tartare
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, 2nd Floor, Deval Chambers,Nanabhai Lane, Flora Fountain, Fort,
Mumbai – 400 001, India.
#ganeshtartare #soloshow #NONOBJECTIVEART #mumbaiartgallery #untittelworks
#contemporaryabstract #contemporaryart #abstractexpression #abstractarts #abstractsonfire #modernartist #abstract_art #abstracted #abstractartist #abstractexpressionism
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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
