Mumbai’s Biggest National Level Art Exhibition

 

                A national level group art event Artival 2022 is being held at Expo Centre, World Trade Centre, Cuffe Parade, Mumbai on 11^th, 12^th and 13^th Nov., 2022. It will showcase about 3000 artworks created by 300 artists from various regions of our country under one roof. The vivid participating artists are from different regions of the country having diverse backgrounds and culture. It is the intense urge of these artists to display their artworks alongwith those of master artists on a common platform in order to reach the prospective art collectors.

                Different mediums and techniques have been used by the artists for their artwork, the prominent among them being oil, water colours, acrylic colours, charcoal, pastels, pen & ink, mix medium, marble, bronze, metal, fibre, wood etc. in realistic, semi-realistic and abstract styles. The art work presentations will include paintings , sculptures, artefacts, murals, installations etc. the numerous works will cover a wide range from traditional/ monumental/ spiritual/ historical heritage to landscapes, seascapes, urban and rural cityscapes, beauty of nature, tribal and folk arts and many more aspects including their modern versions.

                The organisers intend to search obscure talent in different regions of India and promote them and their artwork through this event on a global level so as to reach the international art market. 

Participating Art Galleries include:-   

 Chitrakathi Art Gallery, Mumbai,  The Indian Gallery, Mumbai, I Quest Gallery, Mumbai, Aakar – A Contemporary Art, Kolkata, Urja The Art Gallery, Mumbai. 

Participating Artists in this art exhibition include: Dilip Patil, Deepak Thakurdas, Prakash Ghadge, Padmanabh Bendre,  Vitthal Hire, Shashikant  Patade, Bhiva Punekar, Ashif Hossain, K Sadaf, R.C. Sharma, Nilesh Nikam, Devendra Nimbargikar, Dr. Shefali Samir Bhujbal, Dnyaneshwar Dhavale,  Vaishali Ingle, Vaishali Desai, Sumana Dey, Reshma Shirke, Pratibha Goel, Neeta Verma,  Vishal Sabley, Vishwajeet Kumar, Shalu Puria, Mita Vora, Seema Shah, Ishita Biswas, Bonobithi Biswas, Milind Thakur, Pankaj Naik Nimbalkar, Prajakta Ponkshe, Pallavi Nagwekar, Krishna Prakash Jagdale, Manjiri Joshi, Pavan Kumar D, Shrikant Poddar, Muskan Sagar,  Mitlesh Sharma, Dr. Kashinath D.W, Satishkumar Wallepure, K.S. Kamatagoudar, Dr. Ashok Shatkar, B.N. Patil Kalaburagi, B.V. Kamaji,  Meenakshi A.S. Guttedar, Nisha Singh, Tanishka Soni, B.R Uppin, Rajashekhar S, Kishor Kumar, Sanjay Kanihal,  Milind Thakur, Mandar Khot, Yogita Arute, Sumant Shetty, Seema Arolkar, Kalpanand, Jui Bhagwat,  Amita Acharya, Jyotsna Sonavane, Ravi Rahate, Seema Hadaoo, Gayatri Bhapkar, Namrata Goradia, Ram Rokade,    Arjun Machivale, Mahesh Kadam, Rupesh Patil,  Vaibhav Thakur, Namdev Patil, Nandkumar Thorat, Jayashree Savani, Santoshkumar Patil, Parshwa Nandre,  Shailesh Gurav, Rohit Parab, Paneri Punekar, Kaustubh Kavathekar, Madhura Kulkarni, Mona Jain, Gautam Das, Sandeep Parkhi, Himanshi Rajawat, Anjali Kshirsagar, Murali Kumbhar, Yogesh Barve, Vijay Upadhye, Chaitanya Dalvi, Akshay Jadhav, Gorakh Gholap, Shrirang Badve, Rati Bhargava, Deepak B. Patil, Rahul Kirdak, Dhammapal Kirdak, Ahsan Abdul Rahim Ansari, M. Imtiyaz, Manoj Sonawane, Anil Chaugule,  Anita Hasurkar, Govind Sirsat, Nanda Pathak, Janhavii Bhide, Sohnal Saxena, Dr. Jaai Karnik,  Manisha Ogale, Varsha Sheth, Suvarna Bare, Rekha Thombare among others.

Press Release

From: 11^th, 12^th, 13^th November 2022

"Artival Art Event 2022" 

Modern & Contemporary Art Event

 

VENUE:

Expo Centre, 1^st Floor,

World Trade Centre,

Colaba, Cuffe Parade, Mumbai 400 005

Contact: 9920804573 / 9833949788

Timing: 11am to 7pm

 

 

“Sacred Chants”

 The surfaces of Ramesh Thorat's paintings are meticulously constructed of innumerable fine marks, accumulating into expansive fields, auras, and halos. The layering and build up of these repeated marks create a deep and immersive drawing surface, whose radiant bands and shapes are suggestive not only of light and its absence, but also of spatial depth and the emanation of sound, breath, and vapor. The abundant, repetitive marks also recall writing and script in addition to notions of a chant or a mantra. In his fourteenth solo exhibition, the Pune based artist presents an exceptional body of work completed over the last two years. The meticulously prepared black or white grounds impart a sensation of depth with extraordinary mastery, labor, and devotion to exploring the essence of our existence. Thorat carefully marks these surfaces with brush, cloth or roller and in a few pieces, even with coconut coil. Thorat’s canvases can neither be described as paintings nor defined as drawings. It is as if he has divested the canvas of all its painterly associations and returned it to its natural state as cloth from which an image, neither depicted nor delineated, imperceptibly emerges. The shimmering surface entices the spectator towards a veil traced in a concentrated, viscous suspension of rich pigment that dries to a uniformly flat finish with a barely perceptible incidence of randomly distributed pores. Thorat typically immerses himself in one of the larger canvases for several weeks, executing the brush in a slow dance around the canvas, which is laid on the floor, or by bending into it as if in prayer. These are not fashionable gestures toward shamanism, but part of a practical process that has evolved naturally over the years. In his earlier work the marks with which he created patterns on the canvas were composed of minute sacred symbols, repeated like a mantra. In the more recent works, symbols and forms are dissolved and light is released.

The chants in Thorat’s paintings visualizes the movement of breath as mist expanding, contracting, and shimmering as a vocalist offers invocations from different cultures and religions. On approaching the different works the breath of the spectator merges with that of the vocalist, momentarily sharing breath of different cultures. Symbols are taken from rituals and incantations from Maharashtra viz. Gondhal / Jagran, these dramatic narrations of mythological stories and folk legends are repeatedly laced into luminous surfaces, uniting the form and the image into a meditative visual experience. Each painting is built up of delicate webs of pigment on a white field. The differing patterns of markings are composed of words in loosely formed script that remain unknown to the viewer. Thorat makes each minute form so abstract that the word becomes deliberately unintelligible. Here, he brings to light the concept contained in many religious texts that creation began with word. Markings in most of the works extend out from an open center; they undulate upward and outward in all directions, expanding far beyond the limitations of the canvas. Works such as these are particularly powerful in that their dimension becomes irrelevant. In contrast, in the small work, the markings emanate from a single point.

To experience the subtle power of these pieces, one must view them at numerous distances and under different lighting. The process of viewing becomes an experience of unveiling. At each distance, further markings become visible. While some of the pieces have more easily discernible markings, the ones in which yellow lines were placed on white ground become manifestations of pure sunlight. Although these particular works show upon close examination equally minute markings, the yellow color on white makes them ethereal and diffused. While all the titles of the work in this exhibition are enigmatic, these are particularly so as in luminous darkness. As the yellow markings hover into light, it is hard to discern yellow from white. One senses that the sizes of these canvases relate specifically to the head, the upper body, and the whole body. Furthermore, some of the placements of markings within a given work also capture these proportions, adding another layer of interpretation to the viewing experience. Since Thorat sits with the works on the floor in order to create them, they retain a dimension of intimacy regardless of scale. Thorat’s oeuvre embodies a profound quest and spiritual transformation. Going toward an ever unfolding center, these works reflect the very essence of our existence as fluid and intangible, and are about the notion of presence. In his latest works, Thorat seems to create a matrix, like a tartan of experience, a temporary barrier to go toward. It is as if he worked through a whole cycle of transformation beyond the concept of death and then reached another level of existence, another dimension to penetrate. In this exhibition he does not include any direct references to that body of thought. The spiritual source for his artwork seems more inclusive. While confining himself to a precise visual vocabulary, Thorat succeeds in creating remarkable works of art with exceptionally insightful and illuminating experiences of the infinite nature of our existence.

On entering Ramesh Thorat’s studio, one saw what appeared to be a group of monochromes some black, some white, and all square installed in contrasting groups of large and small works. As one drew nearer to several of the paintings, however, one began to discern the presence of spirituality, meticulously transcribed onto the canvas in paint or pigment, where they proliferate like coral. From any distance, the work seems to illustrate perfectly the observation that abstract painting is a form of mysticism. But just as important, Thorat has produced convincing monochrome field paintings that refine and intensify post-painterly abstraction to uncanny new perceptual effect. Even more crucially, at least from the viewer’s point of view, Thorat’s paintings are unabashedly aesthetic, indeed beautiful. Under the auspices of spiritual idealism, these works become formally ideal. Like abstraction, beauty has also been thought to have mystical import, which is, regarded as a mode of transcendence and self-recovery. Thorat’s works restore spiritual feeling to abstract painting, His canvases seem to picture a perceptual epiphany, and the moment that spirit becomes manifest and one realizes that there is a center to existence and to one’s being.

Thorat’s titles make clear as well that he is in pursuit of what has traditionally been called the sublime; for his, beauty is its surface. The physical experience of approaching his paintings, then, is in effect a spiritual experience, that is, a process of initiation and revelation. From a distance they look like blank slates; as one gets closer one sees the more or less clear mandala like, peculiarly dense form embedded in their seemingly amorphous surface; and up close one discovers the intricate, excited, minute detail. The emerging center comes to represent the ritualized concentration necessary for inner illumination. Equally important, from a purely painting point of view, Thorat’s works show a patient perfectionism that seems increasingly rare today and thus all the more admirable.

 

- Abhijeet Gondkar

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Publish in Art Blogazine digital Magazine 2022

Desi Boys by Soham Gupta | 4th November 2022

 

SAKSHI GALLERY

3rd Pasta Lane,

Colaba, Mumbai 400005

India.

Timings: 11am to 6pm (Mon - Sat)

Closed on Public Holidays

Non-objective art is a visual language of forms, colours, textures and many a times it goes beyond. In case of Indian modern art it is difficult to identify the first Indian modern abstract painting.

Non-objective art and the Avartana: the repetition… Non- objective art or abstract art in India has its followers; some as artists and many as collectors. Non-objective art is a visual language of forms, colours, textures and many a times it goes beyond. In case of Indian modern art it is difficult to identify the first Indian modern abstract painting. 

As we all are aware that Prof. Sankar Palshik

Non Object Painter - Ganesh Tartare 

below play interview 

https://youtu.be/wQfDRDtmSEY

ar, G.R. Santosh, K.G.S. Parnnikar, V.S. Gaitonde, S.H. Raza and a few others are renowned non-objective or abstract painters of early generation of Modern Indian art. The next generation is another batch of non-objective painters such as Laxman Shreshtha, Nasarin Mohmadi, Prabhakar Barve (early works), Prabhakar Kolte, Accutan Kuddul, Yusuf, Akhilesh, Jairam Patel, Dashrath Patel, Vijay Shinde etc.The next batch consists of Vilas Shinde, K.C. Bose, Jinsukha Shinde, Yogesh Rawal, A. Balasubramaniam, Rajaram Hole and many more. Here we can consider the name of Ganesh Tartare after observing his works. His works has structural quality with full of energy. The balance between forms and empty spaces creates the melody. The forms are fluttering in the space like our modern satellites around the planet. These forms are weightless and heavy, sharp and smooth, moving and still, live and dead, aged and young.

His experience of understanding of nonobjective art as an academician is reflected in his work.

 I think that the paintings of the above mentioned maestro have a somewhat unique technique to apply the pigments on canvases. The technique of colour application is an unavoidable aspect of nonobjective art, at least in the case of Indian art. The colour application by using knife for impasto is common... Some are using printing rollers… some are using printing squeeze technique… some painters hit the colours with a mighty splash… some create effects by dropping dots from a distance on paint surface; In short, every artist has developed a method to apply colours on canvas. These techniques help artists to create signature visual formal language. Repetition of technique is considered as an important aspect of the artists’ style. Many artists usually repeat the techniques, like chanting mantra popularly called as ‘Avartana’; though colour pallets are changing. In this regard, another feature we can observe is the creative design pattern developed, created or adopted by non- objective artist. 

The pattern becomes the signature of an artist. At the beginning of the artist’s career, he or she researches in visual possibilities, makes combinations, tries amalgamations. After a certain level, he or she achieves some known-unknown visual efforts and introduces the same as his work of art. After all types of success, the artist starts repetition of his visual discovery… the formal research. The experimentation and research becomes minor and the technical craft as well as production becomes major part of the artistic creation. I would like to raise a question that ‘whether these repetitions or ‘Avartana’ are fine for artists and art?’ The answer may not be in black and white… but the question is a reality.

 Dr. Nitin Hadap

Art Open Talk Montosh Lall and Ganesh Tartare 

Link to Play
https://youtu.be/a_Eu5FoCpXQ

NON-OBJECTIVE ART
from
GANESH TARTARE

Solo show @dr_ganesh_tartare

Preview:

18th October 2022

Time: 4:00 pm - 8:30 pm

Exhibition on view Time: 3:00 pm - 8:30 pm

19th - 28th October 2022 ( Holidays @Sunday close)

RSVP: +91 9820510599 / Nippon Gallery


Also view sale catalog on www.nippongallery.com

NIPPON
30/32, 2nd Floor, Deval Chambers,Nanabhai Lane, Flora Fountain, Fort,
Mumbai – 400 001, India.

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#contemporaryabstract #contemporaryart #abstractexpression #abstractarts #abstractsonfire #modernartist #abstract_art #abstracted #abstractartist #abstractexpressionism