You age is too small for the kind of artwork that you have created, it is a rare entity to find such thought in the youth of your age – S. H. RAZA

Right from the birth till being mature to give birth to a new life, I am blessed to experience every emotional feeling as a woman. At the very tender age itself, I realized that the Lord who created this Universe has scattered upon this earth diverse hues and forms and varied patterns, but maintained similarity in spirit of emotions that flow through these creations.  This is the only reason why we are able to simply colligate equally with the living and non-living objects of this earth. Sensing this minor yet mysterious knowledge has swayed me away into a very different thrilling and spirited world, the world, where everything is spiritual and very dear. It has a spell of magic from which I am not able to come out, or it would be apt to say that I willingly deny coming out.  With times, this affection has compelled me to develop a very different kind of world by giving forms and coloring these emotions. At the age of thirteen I was thrilled by my very own, first creation of this aura. It guided me to vent my creativity in an influential manner. I loved to work in Print etching style and the period from 1993-1998 is most cherished period for me. This is the period when all the dimensions that were necessary for my creativity, were unveiling before me and I happily ventured towards my creative world.

In 1999, I acquired lot of success in the field of Art, but for me the most valued thing was appreciation by S. H .Raza who praised my work and said, “You age is too small for the kind of  artwork that you have created, it is a rare entity to find such thought in the youth of your age. Your creative world is bright so let it flow continuously.”  These precious few words of appreciation made me realize that the surge of feelings in my creations is capable of binding the attention of beholders.   Thus, I was ready to bind the world into the magical spell of my creative world.

It was quiet a different experience of migrating from city of  Bhopal, the city with abundant nature and working in the city like Delhi where human feelings were restricted and superficial. The feelings seemed nothing to do with tender and rich emotional attachments. It was like, - The more superficial, the better. Therefore it can be summed up that, the nature of city has more or less ability to alter the attitudes. And that is the reason why I was not able to live in that city for more than five years and I shifted to Mumbai, to know the nature of one more city! Mumbai is such a city where people of varied natures live and there are different shades of life, the spirit to live happily in any prevailing condition, the zealous attitude of moving on by ignoring hurdles and moving without halts and winning over failures, make its personality more impressive.

 Even after the calamities, people who value life, care for feelings and do not let emotions perish and nor make them superficial. I am constantly studying this city since 7 years and a lot can be created here. The knowledge and education in painting as well as the medium of Print that I studied at Bharat Bhavan, Bhopal prompted me to work in this medium in naturally abundant city like Bhopal and later on moved to the city like Delhi and finally came to Mumbai. Here I could experience a unique facet of life where there is a hidden beauty in the natural destructive forces and realized that it strengthens the purity of feelings and expressions. This is the only reason why my artworks created here are either destructive visuals or calm and serene. You can effortlessly hear and feel the spoken or silently expressed feelings. Even after the numerous blasts of emotions and tornados, a corner of your heart remains tranquil

Destruction heightens emotions and this happens innocently which is also a call of a new life. It is a special feeling for me to endow a character to the feelings of this city in my creations; it is as if, I am creating my own form. This cycle of tapping and knowing my soul calms me down

Poster Out : A Solo show of recent paintings by Kumar Vaidya

SUKSHM

A show of recent paintings by Kumar Vaidya on 22 to 29 march 2014.

11AM to 7PM (Open on Sunday)

Preview on 21st March 2014. 5PM to 9PM

At art gate gallery above Satyam collection, next to Eros Cinema, Churchgate, Mumbai 400020.

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Missing Tuka Jadhav's from Art world ...

Einstein once said that the most incredible thing about the universe is that it is credible at all. There is chaos as well as order in it and after failing to find the Holy Grail of Science in his “Grand Unified Theory" Einstein took comfort in the peace and joy he found in the pursuit of art and music. It is a sad irony of our times that a sight impaired artist should embark on a guest to become the new visionary of the cosmic harmony that eluded Einstein himself. The art of painting can reflect reality like a mirror or distort it like a prism and it is but a magic alchemy of forms expressed in colour and texture in the manner of a shaman and sorcerer as Degas confessed. To give it an attribute of divine revelation is to rob the glory of creation from the creator himself. 

(Tuka Jadhav his studio :2014)

Tuka Jadhav's story is as tragic as it is thought provoking. His rise from humble origins to win the Bendre-Husain Award is an inspiration to others. His catastrophic loss of vision an eclipse at the zenith of his career. His attempts at a renaissance are exemplary and grandiose. We are all moved by the divine beauty of creation reflected in nature. A writer and poet try to express it in words, a musician by melody and a painter with colour. "Synergism” is the coming together ef such creative energies to bring about peace and harmony. The mood is created by the abstract "Buddha" installation using a bicycle wheel, seat and screw. The centre-piece of the show is a gigantic 110 x 200" work called "Cosmic Harmony". It evokes the timeless and eternal influence of the Sun and the Moon to make nature blossom on earth. Like the Yin and Yang of existence the artist's handprint above the red-black sun expresses the commingling of matter and spirit.

A series of six river paintings pay homage to the water element as the source and sustenance of the stream of life. This aspect of “Pravaah" the eternal ebb and flew ef thoughts, moods and feelings finds expression in myriad forms and colour schemes in Tuka's work. Like words and rhyme to a poet and melody and rhythm to a musician they are an integral part of his an of "Synergism". The two evocative works in swirling red, white end green celled "Flowing Ganges" end "Triveni Sangam" capture this essence end spirit. They were made on the spot et Assi Ghat end Rudra Prayag end inspired by their sacred piety. “Empty River” end "Niranjani" have green traces of haunting memories of a lost Iushness of his rustic youth. The massive 11O x 110" work "Tarang" is full of a buoyant and rippling spirit end recalls Tuka's eloquent verse in "Brush Blossoms". The "Song of the Waghori” gives e musical expression in colour to being free as a bird of paradise.

"Bhoomi Sparsha" in ethereal blue and white is e flight of fancy celebrating the meeting of the heavenly and earthly realms, "Prayer" shows e worshipful figure in William de Kooning's style, "Sonography" and "Bicycle" explore the formal aspects further, "Godhra Mother" and "26/11 War" are stark reminders of the terrors of our troubled times, the kite-shaped works "Heart & Soul" and "For Neal Armstrong" are soaring tributes to friend Shiveji Kale and Neel Armstrong the first men on the moon. The serene “Ahimsa" and "Life Fundamentals" with the embedded "Aum" of creation.

( some of rare works by Tuka Jadhav date are not available )

Complete the set with the vertical panel "Global Peace" which brings us beck to the show's sombre theme. Tuka's vision is grandiose. Whet it may Iack in exactitude he tries to make up with the exuberance end extravagance of his irrepressible spirit. Like e spark in the dark it rekindles e forlorn hope for a way to find some "Cosmic Harmony" in the darkness and despair of our times as we celebrate Diwali  Eid end Christmas as the festivals of light.

Like e Spark in the Dark
lonely firefly left his mark
In the darkness of the night
Like him I sought the Light!

( Report courtesy C. S. Nag. (Author & Filmmaker)

The Ocean in the Blood: Ranjit Hoskote

Satish Wavare’s abstractions suggest the cellular structure of tissues placed under the microscope. Our eyes are treated to protean and mysterious patterns of growth; the sensation of rich, teeming life attracts our senses. That these paintings have been laid over imperial maps of tidal islands and coral-spiked oceans renders them all the more alluring. It may well be an accident that the artist should have chosen these cartographic records as a base for his pictures; but the viewer, attuned to searching for significance even in the incidental detail, is arrested.

(Bombay 1990: Satish Wavare with Rajshree Apte, Nitin Dadrawala, Prakash Wagmare and Sanjay Sawant )

 

Abiding connections are made here; as a post-colonial subject, Wavare re-occupies and re-possesses territory alienated from his world by the emperor’s map-maker; and then, a s maker of signs, the artists places his binding cultural instruments over the unbound world of nature. The gesture can no longer be one of arrogant confidence; it must necessarily be a tentative, probing one. 

(2013 :Satish Wavare working in Drawing Box)

And what context could be more suitable for an act of creation than a representation of the oceans? For it was in the primordial oceans that life began; the composition of the original water that surrounded the globe is the composition of hemoglobin. In other words: the archaic ocean of origin still pounds in our blood. Seized by such thoughts, we turn to Wavare’s exercises in symmetry and asymmetry: the halved fruit, the tree developing from a primal. Glutinous soup, the triangle cut by its own double image. 

These rotations and translations of form are charged with some magical energy; as these motifs divide, come apart and mirror themselves, they seem to signify the many centuries if genetic behavior from which they emerge, and the unnamed futurities onto which they hope to extend. 

The interconnectedness of the universe manifests itself through these morphic resonances; it would not be too far-fetched to see at work in these paintings, a sensitivity that has grasped the interconnectedness of the universe, which connects the humblest seed to the highest pyramid. It is, none the less, an inchoate sensibility. Wavare has his conceptual goal in sight, but it is still in the process of serving his apprenticeship to the painterly traditions of skill.

Mumbai: Autum 1996.

Oct 22, 1996- Nov 02, 1996.  - Ranjit Hoskote