Priyasri Art Gallery, Mumbai is proud to present ‘Judgement in the Trial of Akbar Padamsee’.

Priyasri Art Gallery, Mumbai is proud to present

‘Judgement in the Trial of Akbar Padamsee’.

Duration: 9th to 30th January 2020

Venue: Priyasri Art Gallery. Worli, Mumbai-400018

 About Akbar Padamsee

Akbar Padamsee was born in Mumbai in 1928. His ancestors hailed from Vāghnagar, a village in the Bhavnagar district of the erstwhile Kathiawar, now part of Gujarat state. Padamsee was still a student at the Sir J.J. School of Art in Mumbai at the time when the Progressive Artists’ Group (PAG) announced itself on the Indian art scene in 1947. Historically, this is considered to be one of the most influential groups of modern artists to emerge in early post-independent India. After his art education in Mumbai, Padamsee went to live and work in France in the year 1951. In 1952, he was awarded a prize by Andre Breton, known as the pope of surrealism, on behalf of the Journale d’art. His very first solo show was in Jehangir Art Gallery, Mumbai in 1954, where these early works were shown.

In 1962, Padamsee was awarded a gold medal from the Lalit Kala Akademi, and in 1965 a fellowship from the J.D. Rockefeller Foundation. Subsequently, he was invited to be an artist-in-residence by Stout State University, Wisconsin. In 1967 a solo exhibition of his paintings was held at the Montreal Museum of Contemporary Art, Canada, after which he returned to India. Akbar Padamsee’s artistic oeuvre is a formal exploration of a few chosen genres- prophets, heads, couples, still-life, grey works, metascapes, mirror -images and tertiaries, across a multitude of media – oil painting, plastic emulsion, watercolour, sculpture, printmaking, computer graphics, and photography.

In 1969-71, with the Jawaharlal Nehru Fellowship funds, he set up inter-art Vision Exchange Workshop (VIEW), where artists and filmmakers could freely experiment across various disciplines and practices. It is remembered to this day as a landmark initiative, providing the much needed creative stimulus to several young people who are now internationally well known. Padamsee himself made two short abstract films - Syzygy and Events in a Cloud Chamber, where he animated a set of geometric drawings.

In the year 1980, a retrospective of his work was organized by the Art Heritage Gallery, in Mumbai and New Delhi. Akbar Padamsee was awarded the prestigious Kalidas Samman by the Government of Madhya Pradesh in 1997. Other awards include the Lalit Kala RatnaPuraskar in 2004, the Dayawati Modi Award in 2007,''Roopdhar" award by Bombay Art Society - 2008 and Kailash Lalit Kala award in the year 2010. In 2010, he was awarded the Padama Bhushan by the government of India.

About Priyasri Art Gallery

Founded in 2004, Priyasri Art Gallery has been extremely responsive to the evolving language of art and nurturing a gamut of artistic practices and expression. The gallery is dedicated to its role of exhibiting modern, contemporary and experimental artworks; besides focusing on showcasing young artists, we also represent more established artists like Akbar Padamsee and masters like Jogen Chaudhury. Priyasri Art Gallery also provides artists with a studio facility in the art hub of India – Baroda called AQ@Priyasri, the artist studio in Baroda has been providing studio space and housing for young artists since 2003 and has recently launched a separate printmaking practice.

In the bustling Mumbai midtown art space, Priyasri Art Gallery is a cozy 2500 sq. feet contemporary art gallery neatly nested on the seafront in Madhuli, Worli. Its 7x30 feet French windows look out onto a stunning view of the Arabian Sea that shapes the identity of the city.

 

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P R I Y A S R I  A R T G A L L E R Y
42 Madhuli
4th Floor
Shiv Sagar Estate
Next to Poonam Chamber
Dr Annie Besant Road
Worli
Mumbai 400018
Tel/Fax 022 24947673
+91 9769904802
priyasriartgallery@gmail.com,artgallery42@gmail.com,www.priyasriartgallery.in

AQ@Priyasri-The Artist Studio
10th Floor, Ramakrishna Chambers,
Productivity Road, Alkapuri. Vadodara 390007. Tel 0265 2333587 ; 2320053

03 : Note from Studio Shantiniketan, Bolpur./ Artist : Kalpana Vishwas

Basic concept of my art practice is based on “Transforming Nature’’ where I give much importance to ‘Time’ and ‘Space’. Recently while working on leaf I have formed a cut out shape which gave a different view of an image and different concept to think on. The cutting method visualizes the concept of nature’s linearity which is transformed with an industrial’s sharp straight line after the use of an industrial tool. My basic idea through the leaf’s cut out method is to show that in the same space we can show two different time period. In present days the natural scenario of society is changing devastatingly by means of ramification, urbanization and industrialization. The impact of these changes on nature and livelihood of human civilization are transforming society into a forest of concrete. 

I emphasize on maps, cartography and natural elements in my art practice. Because it’s related to everyone and everything, Map reflects political, social, economical, religious and historical events. The value and function of maps are inspirable to daily life for human and animals. In my work the idea of mapping came from my surrounding.  I want to show through my works how every day the landscape is being destructed by us. Which is not happening just because of its own but due to human interpretation there are lots of changes and also the political issues have a profound impact on the geographical map.

by

Art Blogazine Team

Bombay

02 : Note from Studio Shantiniketan, Bolpur./ Artist : Ramu Das

The concept and the subjects of my works, with the treatment, talk all about the vocabulary of my works. While the basic concept is to depict the conflicting characters of human life, the subjects range from personal sexuality to a broader ground of socio-political problems. On one hand my works are imaginary, dramatic and distinctive; on the other hand they are strongly Surrealist in character and bear other specific art historical references. The basic concept of my works depends on my observation of the world, molded through my imagination. In other words, my works may be called solely individualistic. 

Artist : Ramu Das

Human figures in various actions and gestures are the main element in my paintings. Often, relating to the subject the figures are given very specific expressions. Also the figures are rendered to be very unattractive and grotesque in appearance. Most of the characters (both male and female) are imperfectly huge and muscular. They have thick lips, large puffy eyes and often bear peculiar expressions. I avoid the perfect rendering of the human bodies which automatically creates a distraction from a sexual provocation. I like to leave it to the beholders to think over it and feel the absence of the perfect beauty so that their urge for the perfect beauty move their minds. This is my intention to play with the beholders’ psychology. A supposed smooth and palpable skin of a nude woman is being replaced by a rough textured snake-like surface. All these somewhere disturbs the erotic fantasy and contradicts the viewers’ urge to see the perfect beauty. 

While growing as an artist, it is quite natural for the art works to go through an evolution in terms of both concept and content. There are lots of pictorial elements that have been added or deducted from my paintings in the course of changing time. Experiences of moving to different places have highly inspired me to shape up the body of my works. Nature and natural elements have been an integral part of my works throughout. Human figures, mostly grotesque and distorted, are placed within the natural space. Conch, cowry shells and recently beehives have become major symbolic features of my works. These are the elements that build up the body of my works and changes occur through the continous journey of my life. Apart from that there are many reflections of some of my very personal thoughts that come from my daily observations. I often come up with a scene, revealing some story about an individual or a group of people, stating them in an environment. I like to unveil the story quite dramatically with an expressive rendering of colour-play, finishing and appearances/expressions of the characters. Apart from that there are many reflections of some of my very personal thoughts that come from my daily observations. I often come up with a scene, revealing some story about an individual or a group of people, stating them in an environment. I like to unveil the story quite dramatically with an expressive rendering of colour-play, finishing and appearances/expressions of the characters.

My colour palette is quite strong. I use brilliant range of colours and juxtapose them to create vibrancy corresponding to the subjects of my paintings. I always want to create a certain contrast between contradictory elements and I do it by combining strong colours. My palette appears very strident and it may often resemble to be quite expressionistic yet the final rendering surely has reference of the Renaissance paintings. The smooth finishing, delicacy of the draperies, use of chiaroscuro and subtle highlights on the human figures are derived from by understanding of the classical painting, resulting as my own spontaneous interpretation.

I like to work in a way evaded from directness. There are more than a few layers in my works in terms of subject and concept. My main intention is to criticize and highlight various nuances of our society. I have extensively painted subjects like sexual biases, class struggle, and terrorism etc. I handle these concepts with a very political or sometime with a spiritual angle. I use various metaphors and symbols to convey my thought while articulation. The metaphors I use are created with my personal vision and interpretation from various experiences of life. Dealing with concepts like ‘Man and woman relationship’ I have used various metaphoric elements like snails, cowry shells and conch symbolizing the female sexuality and elements like tiger as male. There are references in my work criticizing the male dominance over females by showing a tiger, sharply gazing towards a woman. Tree has become a symbol of femininity as its process of creation resembles to the women’s’ power of giving birth.  Side pillow, another object of the interior has been shown repeatedly as a phallic symbol. There are a few subjects that I have dealt with a spiritual angle, using religious symbols (swastika symbol or a man seated like Buddha) against terrifying objects to generate good hope and positivity against fear. Apart from this, I have been capturing changing personality or mood of different people by showing characters with multiple heads. Dramatic combination of different expressions of joy and dismay of those multiple faces upon a single body, suggests the journey of that person throughout different phase of his life. My works are highly metaphoric and constantly connote a conflict between different aspects of human life. Contrasts and contradictions between different things like sexuality and gender biases, war and peace, brutalities of urbanization are symbolically depicted in my works.

by

Art Blogazine Team

Bombay

Tathi Premchand

01: Note from Studio Shantiniketan, Bolpur. / Artist : Ghanashyam Latua

Mainly my art practice is based on physical environment and its conflict with the artificial environment. The physical environment consists with the living and non-living components. Unfortunately, the natural environment has been under tremendous threat due to never ending human greed. The lands are mindlessly being excoriated by us through agonizing mechanical process. The poignant saga regarding the issues of land acquisition, environmental and migrant crisis and modern age slavery comes into my mind as myself being a locale from a suburban area.

Artist : Ghanashyam Latua

I am currently working with a long and time consuming method of creating layers like formation of a land for many years. It continues then by pecking and skinning the paper with a sharp tool, which defines the violence towards it due to human interference to acquire resources for industrial and ‘developmental’ purposes.

The skin of the paper is the metaphor of the land to me and the method of pecking represents the human rapacity in form of the encroaching land. Before pecking, I use to do some treatment on the paper. It might be an application of water colour tint, soft pastel, charcoal, pen strokes or might be left the paper un-treated as it is. 

I have been constantly encountering the changing features of these landscapes from my childhood at my ancestral village near Kharagpur, Jhargram and during my student life at Shantiniketan, Bolpur. I have explored the spiritual affinity and relationship between the man and nature through my works. It questions the burning social issues like encroaching and land grabbing, which changes the whole ecology of a landscape and the people depending upon it. The endless human greed has lead towards a socio-political disharmony due to misinterpretations of modernism.

In that sense my works are empathic reaction towards these issues as we are constantly being enslaved by our own greed and ecstasy of power in a capitalist society. By getting divorced from the nature day by day, we have murdered our own divine and spiritual self.

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by

Art Blogazine Team

Bombay

Tathi Premchand