Sunday, 15 March 2020
Thursday, 12 March 2020
Re-visiting Mehlli
“I believe that in painting, everything should come out of a
complete need. Color should only be used when totally necessary.”
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| Mehlli Gobhai Image Courtesy: Chemould Prescott Road |
Mehlli
Gobhai, born in Mumbai in 1931, completed his undergraduate education at St.
Xavier's College. He then trained as an artist at the Royal College of Art in
London, and the Art Students League and the Pratt Graphic Center in New York.
For twenty years after his studies, he lived and worked out of New York. His first
major show titled Marking Black was
exhibited at the Bronx Museum, where he showed 5 canvases alongside artists
like Richard Serra, Sean Scully and Larry Bell. Gobhai returned to Mumbai in
the late 1980s.
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| Untitled-14,mixed media on paper, 51.5 x 66 inches, 2010 Image Courtesy: Chemould Prescott Road |
In
his studio, in Mumbai, are found objects from his farm in Gholvad, dried
coconuts to dolphin skull. “In my work,
like nature, there is a compulsion towards the ‘axis mundi’. It is like the
spinal cord – something derived from nature. The human body is an architectural
feat. Through my anatomy study and my work, it has brought me the closest I
have come to a sense of truth and a grand design.” says Gobhai whilst
describing his work, using the term ‘organic geometry’, for its shimmering
vibrancy. “The sense of aging and
transformation of an organic form, and morphing it into something new appeals
to me.” Even across a room, Gobhai’s geometric abstractions seem to emit a
sub-audible hum. Their energy is so high that their physical boundaries
appear permeable; they easily charge a space substantially larger than the four
constructed canvases that they are painted on and the fourteen works on paper that
completely fill the large rooms of Chemould Prescott Road.
As
with most abstract painting, it may be fairly easy to describe what the
paintings look like – repetitive geometric patterns rendered in an essentially
earth-toned palette – yet nearly impossible to describe the aesthetic of their
visceral impact. What exactly does a radiating starburst or proto
hound-tooth pattern mean anyway?
No matter the intricacy, how does one discuss a painting of a shape?
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Untitled-2 mixed media on constructed canvas, 60 x 60 inches, 2010
Image Courtesy: Chemould Prescott Road
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In
looking for a conceptual foothold, where no overt narrative presents itself,
how natural, how tempting to contemplate the physical origin of the
artworks. Indeed, close inspection of Gobhai’s paintings makes for an
intriguing exploration. Gobhai’s abstractions are not intentionally
obfuscated nor are they apparent descriptive imperative. Absent, more
overt rational as these, there might be a reasonable and strong inclination on
the viewer’s part to assume that Gobhai’s painting exits solely as an outlet
for his need to apply paint in the most painstaking way possible. It is at
this point; one might begin to wonder if the artist is engaged in obsessive-compulsive
behavior that, only incidentally, results in an artwork. No doubt that for the
layman, Gobhai’s process must seem physically redundant and numbingly time
consuming; for most people it is close to impossible to imagine sitting down
and laying application, removal and addition of layers of acrylic, charcoal,
graphite, zinc, aluminum powder and pastel one after the other, that add up to
make a single painting.
Although,
it might be tempting to deconstruct Gobhai’s process and even, on a certain
level, gain insights into the work by doing so, it is imperative not to lose
sight of the seductiveness of the object itself. If
we become obsessed with the process over the impact, then it is easy to be
overwhelmed by the marks without keeping a fix as Gobhai does on their
functionality. With attention to the intricacies of material, construction and
placement, Mehlli Gobhai’s constructed canvases form an intriguing symbolic
system. Gobhai mixes monochromatic and minimal styles with expressive use of
color and form. His work is permeated by a powerful sense of the uncanny; he
infuses textures and images with a dramatic, atmospheric charge.
Evoking a magical and emotive experience of time,
place, and action, Gobhai both romances and unsettles the viewer with a sense
of both revelation and mystery. He arranges elements in ways that privilege
texture and tactility. With a theatrical flair reminiscent of Duchamp, he
explores the social and personal implications of mixing abstraction and
figuration.
Abhijeet
Gondkar
(Abhijeet
Gondkar is an independent writer and curator based in Mumbai. The above excerpts
are from review of Mehlli Gobhai’s solo show at Chemould Prescott Road in 2011)
"DON'T ASK ME ABOUT
COLOUR" - Mehlli Gobhai, A Retrospective
Curated by Nancy Adajania & Ranjit
Hoskote
6 March – 25 April, 2020
National
Gallery of Modern Art, Mumbai
Friday, 6 March 2020
Book Now
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| Are you Looking for Open studio in Mumbai Book Now Need help? Email nipponbombay@gmail.com Tel: +91 (0) 022 49786119 (India) |
Wednesday, 4 March 2020
National Gallery of Modern Art, Mumbai
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National Gallery of Modern Art, Mumbai
National Gallery of Modern Art
Sir Cowasji Jehangir Public Hall
M. G Road, Fort Mumbai - 400032
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