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| (Donot miss : Must Watch) |
Friday, 7 March 2014
Thursday, 6 March 2014
Hungary for Art : Chandrakanth Ganacharya
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| ( Installation by Chandrakanth Ganacharya) |
Words often recorded in terms of time . At the time, the creator of this intervention is to assess the level of criticism .On the art ' dialog ' is a new initiative - the eye of the creator of the term and timing speculated ... Long - term survival in dialogue plagued by contradictions between the flights of the flow and think of words that highlights significant possibilities.
In the project I used belly related proverbs and as well as publican's emotional Quotes. All the proverbs and Quotes has the philosophy of time. Those expressions comes from life experience and it will guide & taught by local seniors, intellectuals, and by philosophers.
The Installation art migrating people who force migrate for an essential needs, they know better importance of empty belly.Artist used Hotel, Canteen, Mess and Road Eating eateries for the project.
(copy right image by Artist Chandrakanth Ganacharya)
In the project I used belly related proverbs and as well as publican's emotional Quotes. All the proverbs and Quotes has the philosophy of time. Those expressions comes from life experience and it will guide & taught by local seniors, intellectuals, and by philosophers.
The Installation art migrating people who force migrate for an essential needs, they know better importance of empty belly.Artist used Hotel, Canteen, Mess and Road Eating eateries for the project.
(copy right image by Artist Chandrakanth Ganacharya)
Tuesday, 4 March 2014
My works intimately weave the moments of emotion with spaces for which we cannot scramble: Farzana Ahmed Urmi
Surrounding me Form my childhood I grew up alone. My thought was surrounded by myself. So almost all the time I became engaged with my own self and my own dream. But as I grew up my surrounding too became my preoccupation, though I found it not so inimical to my personal dreams. Society creates a lot of obligations, those that help me to clear my thoughts. These are things which are involved with my own life, career, family and my personal Life. When I was allowed admission at fine arts institution I started thinking deeply about life which totally changed my philosophy of life.
My views became more realistic. I came very close to people. Both known and unknown people caught my imagination. Form than on to the present day my thought became engrossed in my surrounding. For me human being as a subject became a central issue. I studied printmaking at university. But following my passing out I started working on canvas. Here I have amassed what could be seen as my achievement in the past three years. I draw energy from both real life experience and from my subjective feeling. The works that I have brought under the tile “Lost Spaces” allude to the interior world – one which we have seen the wear and tears in the last few decade. Modern life has become all about voicing discontentment and making a statement to refute one another. In this climate, I feel that art should address the silent spaces that rest between human existence and nature, between clarity and ambiguity, and even between consciousness and unconscious reckoning. Thus my works explicate a veritable desire to express the inexpressible human condition; they are like a response to the world busy in production of knowledge and discourse through which we have failed to secure a future for all. My works intimately weave the moments of emotion with spaces for which we cannot scramble. It is remembering of the way of life we are slowly losing to speed, technology and info economy.
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| (Artist: Farzana Ahmed Urmi- Dhaka) |
My views became more realistic. I came very close to people. Both known and unknown people caught my imagination. Form than on to the present day my thought became engrossed in my surrounding. For me human being as a subject became a central issue. I studied printmaking at university. But following my passing out I started working on canvas. Here I have amassed what could be seen as my achievement in the past three years. I draw energy from both real life experience and from my subjective feeling. The works that I have brought under the tile “Lost Spaces” allude to the interior world – one which we have seen the wear and tears in the last few decade. Modern life has become all about voicing discontentment and making a statement to refute one another. In this climate, I feel that art should address the silent spaces that rest between human existence and nature, between clarity and ambiguity, and even between consciousness and unconscious reckoning. Thus my works explicate a veritable desire to express the inexpressible human condition; they are like a response to the world busy in production of knowledge and discourse through which we have failed to secure a future for all. My works intimately weave the moments of emotion with spaces for which we cannot scramble. It is remembering of the way of life we are slowly losing to speed, technology and info economy.
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| (Artist: Farzana Ahmed Urmi- Dhaka) |
Seeds of memories, feelings and sensations are sown in the field of creativity of Prakash Waghmare
Seeds of memories, feelings and sensations are sown in the field of creativity of Prakash Waghmare. In his paintings, colour performs the transformative function; it is closely linked to the psyche of the artist as the individual characteristics of colour and form evolve into a cohesive environment that speaks for itself.
In the current exposition, works on paper created by Prakash are based on his artistic journey through the refinement of elemental forms, bearing their roots in cultural stimulations that mould his conventions. One notices extensive and intriguing excavations of lines on the surface that lend their existence to create orderly patterns and grids.
Drawing inspiration from folk tradition, Prakash explores its influence through personalized paintings with an evocative mood. While interpreting the relevance of folk elements he sees their hidden connection with the fundamental shapes such as squares, triangles and circles. They, he thinks are the "kana" – backbone or armature of nature around and provoke us to meditate upon the essential visuals. It gives a constructive support to his entire act of painting. Thus he reveals the direct relation with energy that first comes into existence in the form of a square divided diagonally into triangles and then gets unfolded like a lotus representing life; the same if looked upon from a birds eye-view reveals the linear skeleton of a pyramid representing the residue of imperishable souls.
Each work reflects deep memories that have touched many phases of his life as a painter. These unforgettable memories are cherished through the silent process of Prakash's visual transformation.
Simplicity conveys and heightens the nature of content in order to attain the purity of colour and form in his work. The ease with which he orchestrates his palette reflects the authenticity of the artist's spirit. His paintings correlate to the optical balance in the natural world and its everlasting impact as nature defines and refines itself by inbuilt defaults and external circumstances, both ways as per its need. Prakash follows nature dearly and without distance.
These unplanned structures are implemented with a sense of rusticity and natural rhythm of time. The accidental emergence of patterns appear more thoughtful, and yet thought provoking – demanding the viewers patient look which then may stimulate the mind to contemplate the essence of the spiritual reality prevailing in the artists experience.
The hallmark of this collection, bereft of modern influence, continues to be the uncontrived, even 'serendipitous', occurrences in the artworks. Prakash works with and harmonizes nature and its universal accidents. While standing in front of a single piece, or reflecting on a number of works, one is set before a visual of many worlds. Optical space appears to simulate the purity of the gaze - between inside and outside, conscious and unconscious - and material or transcendent realities. Accidental happenings of patterns seem almost seems to be setting the plane in motion to prepare one's senses for a visual treat.
Here is an extract of a conversation I had with Prakash:
Why do you create art and what does it mean to you?
My art is created from a deep meditative process. It forms a reflection/impression/expression of influences from around me. It helps bridge the void between the seen and unseen worlds of my imagination.
What emotions do you wish to convey through this series?
The paintings that I create evolve instinctively. I have attempted to narrate how nature has influenced my style. I experience the sensitivity of form - any form. As I develop this sensitivity, these forms help me express myself naturally. This process has developed into a form of meditation, through which I try and find a path; these unseen, unimagined paths get depicted on the surface I'm painting. I believe that nature is welcoming of all who embrace it. Only when we surrender ourselves to nature can we understand and reflect it in its pure, natural state.
How is your work a reflection of you?
My life is represented through my art. All my experiences and influences come together in my art. My sensitivity to people and surroundings get translated into my paintings. It was my experience with photography that made me realize that in a flash I could capture a moment. However, I remained curious to find a deeper realm waiting to be explored and interpreted. I was driven to exploring the world of abstraction, where sensitivity holds the key to every experience. For instance, we don't see the gush of wind that touches our skin, but we can sense it and that's how it makes its presence felt.
It can also be said that philosophy gives me the dimension to express my thoughts through my art. The search of light gives meaning to forms. As an artist I am in search of this light that feeds life and energy into my paintings.
Which artists - living or dead - have influenced you or continue to influence you? Who are the artists you relate to?
Palsikar, Gaitonde and Kolte have helped me develop my vision/ style. Their deep understanding of the subject and how they have expressed it through their art has allowed me to comprehend each of these immensely talented artists. Through my numerous discussions with Kolte Sir, I have gained profound insight into the world of abstraction. They helped me absorb and experience the works of these artists better. Just as nature allows us various experiences when we open our senses to it, insight into the works of these artists allowed me to form a bond with their art.
As Prakash emphatically says, "I don't try to depict reality. I rely on colour, contrast and texture to convey my feelings and make things visible. My paintings are a mix of elemental forms. Images originate in fragments of personal and cultural history, in responses to travels and childhood influences. Traces of places once visited and colours seen evolve as an introspective diary of history, times and spaces. I work from within, allowing all the elements I have been gathering to come alive through my paintings."
Pranali Daundker
Art Consultant and Curator
In the current exposition, works on paper created by Prakash are based on his artistic journey through the refinement of elemental forms, bearing their roots in cultural stimulations that mould his conventions. One notices extensive and intriguing excavations of lines on the surface that lend their existence to create orderly patterns and grids.
Drawing inspiration from folk tradition, Prakash explores its influence through personalized paintings with an evocative mood. While interpreting the relevance of folk elements he sees their hidden connection with the fundamental shapes such as squares, triangles and circles. They, he thinks are the "kana" – backbone or armature of nature around and provoke us to meditate upon the essential visuals. It gives a constructive support to his entire act of painting. Thus he reveals the direct relation with energy that first comes into existence in the form of a square divided diagonally into triangles and then gets unfolded like a lotus representing life; the same if looked upon from a birds eye-view reveals the linear skeleton of a pyramid representing the residue of imperishable souls.
Each work reflects deep memories that have touched many phases of his life as a painter. These unforgettable memories are cherished through the silent process of Prakash's visual transformation.
 |
| Untitled : Oil on canvas before 2005 |
Simplicity conveys and heightens the nature of content in order to attain the purity of colour and form in his work. The ease with which he orchestrates his palette reflects the authenticity of the artist's spirit. His paintings correlate to the optical balance in the natural world and its everlasting impact as nature defines and refines itself by inbuilt defaults and external circumstances, both ways as per its need. Prakash follows nature dearly and without distance.
These unplanned structures are implemented with a sense of rusticity and natural rhythm of time. The accidental emergence of patterns appear more thoughtful, and yet thought provoking – demanding the viewers patient look which then may stimulate the mind to contemplate the essence of the spiritual reality prevailing in the artists experience.
 |
| Untitled : Acrylic on canvas before 2006 |
The hallmark of this collection, bereft of modern influence, continues to be the uncontrived, even 'serendipitous', occurrences in the artworks. Prakash works with and harmonizes nature and its universal accidents. While standing in front of a single piece, or reflecting on a number of works, one is set before a visual of many worlds. Optical space appears to simulate the purity of the gaze - between inside and outside, conscious and unconscious - and material or transcendent realities. Accidental happenings of patterns seem almost seems to be setting the plane in motion to prepare one's senses for a visual treat.
Here is an extract of a conversation I had with Prakash:
Why do you create art and what does it mean to you?
My art is created from a deep meditative process. It forms a reflection/impression/expression of influences from around me. It helps bridge the void between the seen and unseen worlds of my imagination.
 |
| Untitled : Acrylic and mix on canvas before 2007 |
What emotions do you wish to convey through this series?
The paintings that I create evolve instinctively. I have attempted to narrate how nature has influenced my style. I experience the sensitivity of form - any form. As I develop this sensitivity, these forms help me express myself naturally. This process has developed into a form of meditation, through which I try and find a path; these unseen, unimagined paths get depicted on the surface I'm painting. I believe that nature is welcoming of all who embrace it. Only when we surrender ourselves to nature can we understand and reflect it in its pure, natural state.
 |
| Untitled : Oil on canvas before 2008 |
How is your work a reflection of you?
My life is represented through my art. All my experiences and influences come together in my art. My sensitivity to people and surroundings get translated into my paintings. It was my experience with photography that made me realize that in a flash I could capture a moment. However, I remained curious to find a deeper realm waiting to be explored and interpreted. I was driven to exploring the world of abstraction, where sensitivity holds the key to every experience. For instance, we don't see the gush of wind that touches our skin, but we can sense it and that's how it makes its presence felt.
It can also be said that philosophy gives me the dimension to express my thoughts through my art. The search of light gives meaning to forms. As an artist I am in search of this light that feeds life and energy into my paintings.
Which artists - living or dead - have influenced you or continue to influence you? Who are the artists you relate to?
Palsikar, Gaitonde and Kolte have helped me develop my vision/ style. Their deep understanding of the subject and how they have expressed it through their art has allowed me to comprehend each of these immensely talented artists. Through my numerous discussions with Kolte Sir, I have gained profound insight into the world of abstraction. They helped me absorb and experience the works of these artists better. Just as nature allows us various experiences when we open our senses to it, insight into the works of these artists allowed me to form a bond with their art.
 |
| Untitled : Acrylic on canvas before 2010-11 |
As Prakash emphatically says, "I don't try to depict reality. I rely on colour, contrast and texture to convey my feelings and make things visible. My paintings are a mix of elemental forms. Images originate in fragments of personal and cultural history, in responses to travels and childhood influences. Traces of places once visited and colours seen evolve as an introspective diary of history, times and spaces. I work from within, allowing all the elements I have been gathering to come alive through my paintings."
Pranali Daundker
Art Consultant and Curator
(Report courtesy Prakash Waghmare.com)
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