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Nippon 30/32, 2nd Floor,
Deval Chambers,Nanabhai Lane,
Flora Fountain, Fort, Mumbai,
Maharashtra, India.
RSVP: Tel: 022 6633 3997 / Email: nipponbombay@gmail.com wwww.nippongallery.com
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Tuesday, 10 September 2019
PIN POSTER: NIPPON GALLERY
Sunday, 1 September 2019
More fetched towards abstract painting like V S Gaitone, Pual Klee and Nasreen Mohamedi - Heena Waghmare
Heena was born in 1990 Pune, Maharashtra, she has completed her study in BFA
Fine Art from Bharati Vidhayapheeth and MFA from SNDT Mumbai university, she is
known as Rebel abstract painter
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| Artist : Heena Waghmare |
Heena
began her career by she being inspired from her family, her family members are
signboard painter and most of them work for film set design, she enjoys old
calendar design and kept learning from people near her, she knew one painter
during her childhood ..M F Hussain.
She
belongs to Muslim family most of time her family stopped her painting. Since
childhood MF Hussian has always been her inspiration to go after her dreams. Before
Art school she painted ganpati and Mother Merry God at the same time. After a while
she got more interested to work in the field of Art and she loved reading books
of J Krashanamurti, while reading books she was more fetched towards abstract
painting like V S Gaitone, Pual Klee and Nasreen Mohamedi.
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| Rare Painting by Heena Waghmare |
Heena
says while working, conscious as well as sub conscious mind both are at work.
With all this thinking it is like one is searching own self. From the time she
started understanding pictures and paintings, rather than depicting them as
they are, she put them on canvas the way she saw it. The way they are to her,
the way she understands them. “Paint things that I visualize’’ is her way of
art.
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| Rare Painting by Heena Waghmare |
Henna’s
paintings are not just paintings, they are a bridge. Bridge that connects two
worlds, one that she carries inside her and that is her conscience in which she
always loves to discover a new color and paint with it and the other is her
outer world. Bad or good emotions, right or wrong morals and feelings, they all
build this bridge up. It goes without saying that when a bridge is built with such
strong rudiments, the travel from one world to the other is smoother.
Abstract painting she show lots layers of colour overlapping,
mostly she use pastel shades like gay and skin colour with light blue shade
This discovery of her own self is yet not over for her. She still
wants to discover herself and get this feelings travel to the outer world to
see through the bridge – Heena’s paintings!
- On behalf of Pankaja JK
Art Blogazine 2019
Thursday, 29 August 2019
'PRIYA Dube’s poetry and art speaks of her life' - Satarupa Bhattacharya
Art & Deal Magzine
New Delhi
Priya
Dube (1992) was born to a family belonging to Uttar Pradesh in Sumesherpur. The
family shifted to Bombay, where she was raised. Her journey in the field of the
arts began at an early age when she began to
sketch and draw her immediate surroundings. After she acquired a degree in
interior designing, she worked as
a designer for five years. Eventually, she found her calling as a fine art
practitioner and began her practice from
home.
Dube’s
poetry and art speaks of her life: a life that she chose to rebel against the
institutionalised setups with.
Her works speak of her resistance to the inculcated practices of boundaries
that has over the years
become our identity. In a society of norms that includes language, marital
status, class consciousness, and
occupational constructs, the very act of making art and writing poetry has
become a form of resistance.
Her
art speaks a language of the inculcated systems of womanhood, whereby,
womanhood is her boundary. This
is the boundary she breaks with her installation of clothes lined up against
the windowpane, which she calls
“Your Thoughts Drying Under the Sun, Night will be Sunshine with Hair”. The
installation speaks of
how we hang our minds out to dry, while we mull over our situations on an
everyday basis.
The clothes lined up are a regular middle-class household sight, where lining them up is the easiest and fastest way to find them and arrange them. Her installation shows the convenience associated with her daily life, where she finds herself constantly rummaging through her surroundings for details that accentuate her being. Similarly, the self-portrait is an insight to how she looks at herself. A poem that describes her yearning to be one with what she looks at while looking deep within herself is included as the title and a part of the painting. Her words enunciate her desire and longing that she has buried within herself. This journey is not only spiritual but also political, where she discloses her utmost desire to be seen as a capable being and a desirable one at that. The genitals are so regularly decisive of what or who we should become and how prolifically homogenized is that idea that she creates several images of the vagina to dismount from the stationed notions of gender.Here, she includes a poem that describes the mood of the vagina. Thereby, she brings forth the point of consent and the dilemma of gendered desire. Her other works to speak of her daily interactions with her surroundings and with the core of her existence.
The clothes lined up are a regular middle-class household sight, where lining them up is the easiest and fastest way to find them and arrange them. Her installation shows the convenience associated with her daily life, where she finds herself constantly rummaging through her surroundings for details that accentuate her being. Similarly, the self-portrait is an insight to how she looks at herself. A poem that describes her yearning to be one with what she looks at while looking deep within herself is included as the title and a part of the painting. Her words enunciate her desire and longing that she has buried within herself. This journey is not only spiritual but also political, where she discloses her utmost desire to be seen as a capable being and a desirable one at that. The genitals are so regularly decisive of what or who we should become and how prolifically homogenized is that idea that she creates several images of the vagina to dismount from the stationed notions of gender.Here, she includes a poem that describes the mood of the vagina. Thereby, she brings forth the point of consent and the dilemma of gendered desire. Her other works to speak of her daily interactions with her surroundings and with the core of her existence.
“Love
Box with Smoking Ideas”, a depiction of several images from her everydays, and “Beautiful
Mind”,a
combination of several aestheticized pictures of people, are evocative of
everything that has visually pleasured
and plagued her. Such a range emphasizes her keen ability to look deep within
and outside the peripheries
of the society she struggles with as a woman and as a metropolitan individual.
All
in all, Dube’s works are evocative of our every day, whereby, making it even
more plausible for us to see what
we don’t want to see. Her works enables us to see which we have seen every day
and have functionally desensitised
ourselves towards. Her anguish, her love,her desire, and her ability to mull
over all that she is or
is to become has all been set right in front of our eyes to witness. In doing
so, we are not only witnessing her
journey but the journey of our collective existence.Therefore, Dube’s works
speaks of us all.
Nippon Gallery
30/32, 2nd Floor, Deval Chambers,
Nanabhai Lane, Flora Fountain, Fort, Mumbai - 400 001/ Tel: 022 66333997
Mumbai, Maharashtra
30/32, 2nd Floor, Deval Chambers,
Nanabhai Lane, Flora Fountain, Fort, Mumbai - 400 001/ Tel: 022 66333997
Mumbai, Maharashtra
Friday, 16 August 2019
ART & SOUL : Text Part III: Subaltern Sexuality-Body as Text
‘In literary theory,
a text is any object that can be “read”, whether this object is a work of
literature, a street sign, an arrangement of buildings on a city block or
styles of clothing. It is a coherent set of signs that transmits some kind of
informative message […]’ explains Wikipedia.
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| Recent work by Sudharak Olwe |
In contemporary Indian art we continue to evolve the genre
of the human figure or portraiture as representations of our culture and its
unspoken dimensions. The photographic portraitures may represent new dimensions
of ( trans) sexuality, gender, queer groups or focus the unspoken through the
subaltern. My focus is the gaze of
the protagonist in the picture should meet the onlooker.
Every human being experiences a discreet sexuality which is
silently there, often in all human actions and expressions. Often these
experiences are repressed, except gentle suggestions in human conversations.
Sexuality is deeply silenced or means “layers of silencing” in common human
experiences. Spaces and right to conversation about one’s sexuality/ sexual
identity are few and nil especially for
the subalterns (economically, culturally and socially dispossessed).
Consequently, “speech as expressions of sexuality” and ruthless violence are deeply
entwined.
Sexuality forms an important aspect of human identity. The
discourse on sexuality breaks on the experiences of the “materiality” of the
human body. There is no other consequence that shapes one’s sexuality than the
materiality of the human body. How is one to negotiate these transforming
inwardly human experiences during childhood-puberty onwards? What is the nature
of subaltern sexuality? How does it manifest itself as a poignant reflection of
the self for most humans? In “Subaltern Sexuality: Body as Text” one may be
able to read the deeply unspoken, through-in the bodies of the protagonists.
The incredible voices from within- its manifestation as a poetic content of the
world or home (within) plays with inevitable control through punishments and silenced
power abuses.
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| Sudharak Olwe at Art & Soul Mumbai ( image source sudharak owle fb image) |
Sexuality is a bundle of energy when politicized- gets
recognized in the “queer moment/s” that any given social/cultural space
creates, making aware of one’s emerging/ transforming sexual identity. Several
such moments become really poignant for oneself to observe also the rupture
from within. A tearing inner voice acquires within as the gaze returned
(looking at the camera lens). Often the bare gaze of the protagonist is layered
and poetic with these expressions. The visuals are subtle and strong manifesting
the unspoken in their meeting of gaze with the onlooker.
Shubhalakshmi Shukla
Curator
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