Lizard Installation of Drawings by Tathi Premchand.

Tathi Premchand : 

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

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

Lokamt: Marathi 29th July 2014

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26th July 4th August : SAVE DATE: ART TALK at 6 pm Art gate gallery, Churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com
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Ashok Hinge ‘Guru-Shishya’ installation work on review by Pankaja JK

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

Installation Artist Ashok Hinge

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

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

Installation view at Art Gate Gallery

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

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

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

  Pankaja JK
 Art critic & writer:- Art blogazine 2014



26th July 4th August : SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com
(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency  and online social media, please share )

Lizard Installation of Drawings by Tathi Premchand.

Art is the visual history of a given period. Nature is evident and apparently beautiful. Man progressed and steadily brought change in its appearance; bringing in more man-made materialistic things. Artists of every age with realistic outlook always capture these changes. Some are figurative and some abstract. My interaction with nature as well as reality of urban people has led me to create these drawings, portraying the truth of contemporary scenario. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. 

 

Recent Drawing by Tathi Premchand at Art Gate Gallery

I create these drawings because I am more sensitive towards societal issues. I like to paint social issues and causes and make a critical statement through my work. With times, lifestyle, infrastructure of the society and more over behavior and outlook have changed, I try to showcase that change- either good or bad or say, two sides of the same coin. I like to be binocular and scan society at the farthest.

In these webbed drawings are hidden faces of people with many shades of struggle for survival. No where is meditative and tranquil mood. There is awe, stress, astonishment, question remorse and so on.

 The knife edge is what that we advance on. We are ripped with the sharp tip everyday. Still we find our path through it. These struggles and enwrapping due to social disruption have their own attractive token; a sentimental value. I have worked with pencil and pen on paper.

In Drawing I deliberately painted skeleton on Electricity bill. Having basic needed  things include electricity, but the charges are too high; the power is less as compared to powerful bills and that is killing people, reducing them to skeletons.

William Kentridge : David Hockney

The two most influential artists whom I admire are William Kentridge. David Hockney  is always a third party observer putting the reality on paper using pen drawing. William Kentridge uses scribbled papers for his expression of reality. I feel this is an effective medium as it makes drawings more worth and iconic.

This series has various lines combines with styled circles, a white or black spots, hiding the emotional facial gesture of the person. I have captured the complexity using basic tools and in completely freehand manner.  

Titles also play prominent role in my creations. A word or two speaks all. I have pasted my drawings on cardboard boxes and let them be on wall. I call this series ‘Lizard’, as I am awed by its most unique feature to stick to the wall. Just like it pathos and poignancy that never leave us.

And as I adamantly state, “My paintings are not just show pieces to decorate walls, but are the thoughts to be pondered upon.”

- Tathi Premchand

Translation by Pankaja JK 

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‘Visual Archives of Kulwant Roy’, curated by Aditya Arya, on 1st August 2014 at 6 PM at the NGMA Mumbai.

National Gallery of Modern Art, Delhi and Mumbai, Ministry of Culture Government of India and India Photo Archive Foundation cordially invite you for inauguration of exhibition titled- 

 ‘Visual Archives of Kulwant Roy’,

This exhibition presents a historical visual treat, from the priceless collection of photographs taken by press photographer Kulwant Roy’s, prints and negatives. In the process of documenting the rare photographs of Kulwant Roy, Mr. Arya discovered a rare and valuable visual archive, including many unpublished pictures, of a momentous era in India's history which form the part of this exhibition. These priceless images from around the 1940s, which lay hidden for decades, have been brought back to life through the expertise of Mr. Aditya Arya. As a result, we can now gaze into the evocative faces of the valiant women and men who made history in our land six decades ago, all very skilfully captured by Kulwant Roy’s brilliant lens.

 

Kulwant Roy was born in 1914 in Bagli Kalan, Ludhiana and educated in Lahore. Without any formal training in photography Roy then joined Gopal Chitter Kuteer’s studio in Lahore. He joined the Royal Indian Air Force in Kohat near Quetta in 1941. However, he found it difficult to tolerate the discriminatory policies of the British government, which resulted in his ouster from the air force. By then his experience of taking several aerial photographs from the cockpit of the planes that he used to fly had laid a firm foundation for the shape of things to come. Roy became passionate about photography. As a freelancer in Lahore, he documented several significant political events in Pakistan. Re-locating to Delhi in 1943, Roy started his own agency, the Associated Press Agency in Delhi. It was during these years that Roy captured untiring images of well-known historical events some of which are displayed in this exhibition.

Director

National Gallery of Modern Art, Mumbai

 

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