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Shows

Ways of Seeing

25 Contemporary Artists
27th August 2005 - 31st August 2005
Art Alive Gallery

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ARTIST(s)
Arunanshu Chowdhury

Arunanshu Chowdhury

Biography

Born 1969 in West Bengal, Arunanshu acquired his B.F.A and M.F.A in painting from M.S.University, Vadodara in mid 90s5. He has held solo shows ‘Falling-Up’, in 2001; ‘Veneered Images’, in 2000, both at Mumbai, ‘Considering the Forgotten’, in 1998 at Vadodara; ‘Portraying the Familiar’ at Triveni, New Delhi in 1997 and ‘Beyond Visions’, again at Mumbai in 1997. He has participated in several group shows at Baroda in 2005; Mumbai in 2005, 2004, 2003, 2001, 2000; New Delhi in 2004, 2003, 2002; New York and San Francisco in 2003 and Germany in 2000. He is a recipient of The Elizabeth Greenshields Foundation Grant, Canada in 1995 and Ravi Jain Foundation Award, New Delhi in 1995. He lives and works in Baroda, Gujarat.

Statement

Using images of another time and place against a different background , I have tried to show disparities in substance. In both the works, I have set objects which present another culture and environment, differing feelings and mood against a familiar picture closer home to my experiences. Through theses images I look at many ironies one is presented in present day and similarities in cultures in the modern age, which often comes to us in the form of “kitsch” and otherwise.

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Baiju Parthan

Baiju Parthan

Biography

BAIJU PARTHAN (born 1956) took a BSc in botany and embarked on an engineering degree before escaping the sciences as well as his native Kerala. Enrolling for a BFA in Painting at the Goa College of Art, he arrived there at the height of the hippie counterculture. Parthan�s lifelong passion for cosmography, Buddhist mandalas, Jungian psychoanalysis, and shamanism originates in this period. Migrating to Bombay, Parthan joined The Times of India group as an editorial artist, working mainly for The Illustrated Weekly of India, which nurtured his literary, philosophical and artistic interests. Soon, he embraced the life of the independent artist, developing both his painting and his new-media projects, these latter being unveiled with a groundbreaking exhibition, �Brahma�s Homepage and Other Cyber Stuff (Gallery Lakeeren, Bombay, 2000). While translating his concern with pervasive global media flows from the digital to the painterly context, Parthan pioneered the trend that Nancy Adajania has described as �new mediatic realism�. Parthan has participated in numerous curated exhibitions, including �Under Construction� (Japan Foundation, Tokyo, 2002) and �ZOOM!� (co-curated by Nancy Adajania and Luis Serpa, Culturgest Museum, Lisbon, 2004). Ranjit Hoskote�s book on the artist, Baiju Parthan: A User�s Manual, was published by Afterimage, Bombay (2006).

Statement

'Base Metal' is the nomenclature used in ancient alchemy to denote a common or�any inexpensive metal that can be transmuted into Gold. Generally spoken about as the 'great work'�this alchemical process is actually a metaphor for personal transformation. I�have used these ancient alchemical references to speak about the information technology of today and its effect on our life. How cryptic computer codes and�binary streams made up of zero(s) and one(s) are transmuting our experience of reality for better or for worse.

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Bharati Kapadia

Bharati Kapadia

Biography

Born in Mumbai, Bharati Kapadia graduated in Applied Art from Sir J J Institute in the city. She has had three solo exhibitions of her work ‘Realm of the Elusive’ in 2000; ‘Of Currents and Confluences’ in 1997 and ‘Collages’ in 1994 all at Mumbai. She has also participated in several important group shows, some of which are ‘The Tile Project, Destination: The World’ organized by Transcultural Exchange, USA; ‘Making of India’, New Delhi, ‘Kaleidoscope’, New York; ‘Art & Ideas: The Mumbai Art Magazine’ and ‘Objet d’Art’, both in Mumbai in 2004, ‘Objects of Wonder’, USA and ‘Mapping the Pscyche’, Bangalore; ‘Coaster Project, Destination: The World’, USA and 8th European Patchwork Meet at France in 2002, ‘Combine: Voices for the New Century’, New Delhi, ‘Assoziationen’ showcasing the works of three Indian and three Austrian artists at the ‘May For India & You’ Festival, Tulln, Austria; ‘The Banyan & The Bodhi’ a site specific installation at Kala Ghora Art Fest, in 2000. She was the artist at residency in Apex Art Residency, New York in 2001 for one month and Artists Equity Association for a 6 month program to Seattle, USA in 1993/94. Bharati lives and works in Mumbai.

Statement

The power of the visual to directly affect and alter the consciousness of sentient beings is the prime motivation behind my choice to work from within the visual milieu. My repeated confrontation with the experience of "the essence of something" which eludes articulation through words has led me to images, visual concepts, which hold the potential to resonate within the viewer-participant's consciousness.Through building and shaping the image content of my work, I attempt to gather under one fold so to say, a range of multi-tiered interconnections which converge and integrate to resonate within the experiential field of the viewer.This interplay, the jugalbandhi between the creator in me and the spectator in me is a constant during the process of my art making. As a spectator of a work of art, I feel 'activated' when two factors are potentially present: a) the space for me (as a spectator) to participate, resulting in b) the space to re-create the 'substance' which I am getting through my participation. The sense of 'satisfaction' that ensues when I do participate and re-create, is the culmination, the fruition, of the experience of that work of art. My artist persona operates from the dual framework of creator/spectator. It is a conscious, political choice born out of my awareness of the artist's responsibility to both and I stand committed to it.

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Bindu Mehra

Bindu Mehra

Biography

Bindu studied painting at Triveni Kala Sangam, New Delhi under the guidance of Shobha Baroota in 1984. She received her Diploma in Commercial Art at New Delhi Polytechnic for Women, in 1988. She also went to Maryland Institute College of Art, Baltimore, USA to do Post Baccalaureate Program in Painting and acquired her Bachelor of Fine Art in Painting from Faculty of Fine Arts M S University, Baroda in 1996 and Master of Fine Art in Painting from Virginia Commonwealth University, USA in 2001. She has held several solo exhibitions and group shows in India and abroad including ‘Even Mary could not have Changed More’, a solo show at Mumbai in 2005; ‘Innocent until proven guilty’, a collaborative exhibition with Himanshu Desai at New Delhi in 2004; ‘Meta-Psyche’ at Bradford Gallery, Virginia Commonwealth University, in 1999 and ‘Into the Great Wide Blue’, Collaborative exhibition with critic / poet Himanshu Desai, Ahmedabad in 1996. She was awarded the Dean’s Scholarship from Virginia Commonwealth University, USA in 2000 & 2001 and Painting and Printmaking Department Scholarship from Virginia Commonwealth University, USA from 1999 to 2001 among others. She lives and works in Mumbai.

Statement

Images of military weaponry and juxtaposing the same with traditional motifs from various cultures of the world, the work appears somewhat ironical- making war weaponry transcend into extremely beautiful images that are often hinting at war as a tool for cultural decay (e.g. a hand grenade fit into a wallpaper like grid of motifs from Persian art).

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Chandra Bhattacharjee

Chandra Bhattacharjee

Biography

Born 1961,West Bengal, Chandra graduated from the Indian College of Art and Draughtsman ship(1986 ) and Post-Graduate in Fine Arts, Kala Bhavan, Visva-Bharati University, Santiniketan. (1989).

He has held 11 solo shows of his work to date, 4 each in Kolkata and New Delhi, two in Bangalore and one in Chennai. ‘Visual Diary’, Galerie 88 in 2010; ‘Aeons Visible’, Galerie 88 in 2008; ‘The Gallery on Cork Street’, London-Threshold in 2007; ‘Indelibilities’, Palette Art Gallery, Delhi in 2007; Jehangir Art Gallery’, Mumbai in 2005.

He has also been a part of a two person show that toured Bangalore, Singapore and Mumbai. Amongst his group shows he has participated in more than 60 groups shows across India and abroad, and his work has been included in ‘XIth Triennale’, India; ‘10th Harmony Show’, Mumbai; ‘Indian Contemporary art’, U.K.; ‘Lalit Kala Akademi’, New Delhi; ‘Water Colour show’, Kolkata ; ‘A Journey’ Mumbai; ‘New Paradigms-II’, New Delhi during the last few years.

He received gold medal from Rabindra Bharati University in 1986 for excellence in fine arts and received Taj Gaurav award in 2008. He lives and works in Kolkata.




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Heeral Trivedi

Heeral Trivedi

Biography

Born 1973 in Mumbai, Heeral completed her B.F.A. & M.F.A. in Creative Painting from M S University, Vadodara in 1995-97. She has had two solo shows of her work in Mumbai, ‘Nurturing’, in 2002 and ‘Quasi-Perceptions’, in 1999. in addition, she has participated in many important group shows and workshops in India and overseas including ‘ The Sense of Touch’, Mumbai, ‘ Earth Plates’ a show of terracotta plates at Fine Arts Gallery, ‘Past Modern’, Baroda in 2005; ’Tribute to Bhupen Khakar’, ’Journey’ and ‘Generation-I’ Mumbai in 2004; ‘Three Contemporary Indian Women Artists’, New York, ‘Across the Threshold’ a group show of Baroda Artists at San Francisco, U.S.A., ‘Discerning Eye’, London in 2003. She was awarded Gujarat Lalit Kala Akademy Award in Painting and received the National Scholarship from Ministry of Human Resources, Dept. of Culture in 1996-98. She lives and works in Baroda, Gujarat.

Statement

Looking through the eyes of another, the same situation may appear differently than it does to oneself. A person’s perspective changes from time to time and differs from each individual. ”Ways of Seeing” is taking into account these varied representations, dissecting a picture from many angles. Multiple pictures of the same image is, what I have tried to present here. As it goes in the title….”It’s the way we see things”…the glass can be half empty or half full, whichever way one prefers to view it. Hope and desires is what motivates action….and dreams are vehicles to relive those moments again and again. “…if I had wings to fly “, quotes from a Greek vase painting, the image of a woman flying on a bird, that is her vehicle / wings to carry further an indulgence into secret wishes, the way we see them to be in our minds.

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Jagdish Chinthala

Jagdish Chinthala

Biography

Born, 1942, at Bangladesh; Graduated from School of Art, Delhi polytechnic in 1963, Faculty member, College of Art, New Delhi from 1965-2002; Awarded AIFACS Awards in 1969,1982, Sahitya Kala Parishad's Award in 1981,82,89, Senior fellowship awarded by the Ministry of Human Resource Development, overnment of India in 1998, National Academy Award by Lalit Kala Academy,2000; Exhibited at Triveni Kala Sangam in 1966,1979,1981, Dhoomimal Gallery in 1990,92,94,2001, Taj Art Gallery, Mumbai in 1985,92,94,96,98, Sanskriti Art Gallery, Kolkata 1993, Jehangir Art gallery, Mumbai in 1996, Group show at Dhoomimal's City Gallery in 2007.


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Kriti Arora

Kriti Arora

Biography

Born in 1972, Kriti Arora studied for her Bachelor of Fine Arts degree in Sculpture from M S University, Baroda 1991-1995 and Master of Fine Arts in Ceramics from University of Massachusetts Amherst, USA 1995-1999. She has taught both Bachelors as well as Masters Students in the Faculty of Fine Arts at the M.S. University, Baroda between 1999 and 2001. Kriti enjoys working in ceramics and photography and experimenting with painting and other media too. Her solo exhibitions includes "Where Art and Justice Unite", Art and Industry Building, Amherst in 1999; "Mandir Masjid" MFA Thesis Show, Student Union Gallery, UMASS in 1998 and BFA Final Display, Faculty of Fine Arts, Baroda in 1995. She has also participated in various group shows across India and abroad in New Delhi, Baroda, France, and New York. She has received Junior Fellowship from Department of Culture, Government of India in 2001- 2003 and scholarship from M.S. University Baroda in 1991 – 93. She lives and works in New Delhi.

Statement

Northern India’s, post independence history has been determined by the epochal, geographic partitioning of a country, into two countries; India and Pakistan. The underlying theme in my work is to document people who have been displaced not out of their own choice, but due to various factors- political, social, war, genocide, geographical, seeking labor or wealth. Some of it is forced displacement, some of it is out of choice. After spending a great deal of my time alone working in my studio, I find traveling to these areas both invigorating and inspiring. Having grown up in a large metropolitan city, one was subjected to a very homogenous and structured upbringing. And yet despite the homogeneity of one’s external life, every family has its own unique characteristics. These are party inherited and the rest is absorbed from the environment in the house. The cultural differences in every household fascinate and help me understand my family roots and appreciate the political environment they came from. I work along very clear parameters. I start off by documenting images from these areas. I then use these images to create a body of photographs and paintings.

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Manish Modi

Manish Modi

Biography

Born in 1977, Manish completed his Diploma in Painting followed by an Art Teacher’s Diploma from C.N.College of Fine Arts in 1998 and 2001 respectively. He moved to M.S.University, Baroda in 2000 to do his Diploma in Creative Painting. He was the visiting faculty at Kanoria Centre for arts, Ahmedabad between 2001 and 2003. He had his first solo show ‘An Artist Within’ in Dubai International Art Centre, in 2003. He has participated in many workshops and group shows including ‘Swarn Rekha’ to mark Lalit Kala Academi’s Golden Jubilee, New Delhi in 2003; ‘Images on Images’ at Kanoria Centre for Arts in 2002; ‘30 below 40’ in 2000; Baroda in 1998 and Ahmedabad in 1998. He was awarded the 42nd and 43rd State Lalit Kala Academi award for painting in 2002 and Bombay Art Society Award in 2001. He lives and works in Ahmedabad.

Statement

Working with Newspaper known as print media leads to printing slide "untitled", which tells us about two different generations & the contrast between the two. In the first printing the foreground consists of an old man sitting on a bench. The background is covered with the hoardings of Sunday times in an ancient car model. The motifs supporting the other area of painting too are of renaissance period. There lies a close resemblance between all these three things. On the other hand the next painting reveals the story of new generation believing in discipline where a corner of a house is shown neat & clean whereas the landscape lying in the background reflects the thought of use & throw hence giving a contrast. The outlined figure symbolizes a figure reading newspaper & the other figure holding a newspaper in a come back mode is nearly an illusion.

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Manisha Gera Baswani

Manisha Gera Baswani

Biography

Born in 1967, New Delhi, she has completed her B.F.A and M.F.A from Jamia Millia Islamia University, New Delhi in 1990 and 1992 respectively.

She has held solo shows of her works across the country \'Hope is the thing with feathers\', Gallery Espace, New Delhi in 2012; Anant Gallery, Kolkata in 2007; Palette Gallery, New Delhi in 2006; Gallery Chemould, Mumbai in 2005.

Her works have been included in many group exhibitions held at both within and outside India including \'Tactile\', Latitude 28, New Delhi in 2012; ‘Fabular Bodies’, Curator Gayatri Sinha, Harmony Foundation, Mumbai in 2011; ‘De-Sizing’, Curator: Anupa Mehta, NCPA, Mumbai in 2007; ‘Telling it like this’, The Indian Story in London, Gallery Espace, New Delhi in 2007; ‘Paper Flute’, Curator: M L Jony, Gallery Espace, New Delhi in 2006 ; ‘Gallery Guild & Saffron Art\', Curator: Girish Shahane, Mumbai in 2004; ‘In Conversation’‚ Gallery Espace. Curator: Gayatri Sinha, New Delhi in 2002; ‘Kala Ghoda’‚ Art Festival, Mumbai in 1999 and National Exhibition, Lalit Kala Academy, New Delhi in 1992 .

She is a recipient of the National scholarship and Junior Fellowship from the Government of India in 1991-93 and 1995-97. She also received the French Government scholarship to study in Paris in 1993. Her works are part of the collection at the National Gallery of Modern Art. She lives and works in Gurgaon, Haryana



Statement

A painting is the ambrosia for the mind. The act of painting is a 360 degree exercise for me which allows meditative time, a structured discipline and immense personal gratification. I delight in the viewer\'s interpretation, for I do not myself weave any message in my works. Be it insects, galaxies, pop icons or ancient Indian murals, they all have a place on my canvas. The elements I choose take a life of their own from one painting to�the next because I leave them unfettered of any intellectual shackles. A night bird sits perched under the dark sky while a shower hangs precariously behind a curtain reminiscent of a Pichwai above a lotus pond.


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Nita Thakore

Nita Thakore

Biography

Born in 1958, Nita did her BA and MA in creative painting from Vadodara in 1979 and 1981 respectively. She went to Goldsmiths College of Art, University of London, UK to do her Post Diploma in Textile Art in 1989 and at Rhode Island School of Design, U.S.A in 2000. She taught at Navarachana Higher Secondary School, Vadodara from 1981- 87 and National Institute of Design, Ahmedabad from 1990-91. Since 1990, she is involved in part time teaching and conducting workshops at NIFT, Ahmedabad, Gandhinagar, Hyderabad, New Delhi, Surat, Mohali and currently at the National Institute of Design, Ahmedabad. Between 1981 and 2005, she has shown her work in 12 solo exhibitions and 23 group shows across India and abroad. She was awarded Charles Wallace Festival of India Award for her study in the UK in 1987-89, Govt. of India Senior Fellowship in Visual Art in 1999-2000, Fulbright Fellowship by USEF in New Delhi and the Institute of International Education at New York in 2000. She was the Guest of Honor at the 8th European Patchwork Meeting, Office Du Tourisme, Ste Marie Aux Mines, France in 2002 when she was also invited to curate Indiantextile. She lives and works in Ahmedabad.

Statement

John Berger has a way of re-introducing us to a renewed visible worldparticularly when it prompts an entire gamut of questioning in our minds. 'Seeing comes before words', immediately struck a cord in my mind and opened up a whole array of possibilities for image making. We are ‘painfully’ aware of the fact that a part of the world riddles itself with tireless conflicts, while the other continues to engage itself in the act of ‘peacemaking’ (!!!!!!) balancing our sheer human existence. So if you happen to be reading this & don't remember the last time you picked up a brush and threw in some imagination for effects while painting that elusive picture, I'd highly recommend you to do so!!!! (an hourly dose or more daily for coping with modern day stress). Welcome to the world of ART, which to my mind forms the single most unifying force of life. The legacy & unearthed discoveries of an invaluable artistic past undoubtedly stands testimony to this belief. Hard to imagine a world bereft of it!!! Ways of Seeing, inspired me to delve deeper into the world of history.... probing, questioning and seeking to strengthen the tether of my heritage, not with the purpose of returning to the past, but to better understand my place in the present. The two pictures created are derived from the arts of ancient India and these form the basis of a series of works I attempt to bring to people from all walks of life (especially children) into the world of art and aesthetics, with the intention of bridging the past and the present and a resurgence of sorts i.e. history re-visited, and an amusing and enjoyable one at that!!! hopefully!!!

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Prasanta Sahu

Prasanta Sahu

Biography

Born 1968 in Orissa, Prasanta completed his B.F.A. in Painting from Kala-Bhavana, Visva- Bharati University, Santiniketan in 1993-98 and M.F.A. in Painting from M.S. University, Baroda in 1998-2000. He has been a part of several group shows in Kolkata, Mumbai, New Delhi and Baroda during the last few years. He was awarded the Gold Medal for securing 1st position in Dept. of Painting, M.S. University, Baroda in 2001, Nasreen Mohmudi Trust Award again for securing 1st position in M.F.A. from the same University, in 2000, Camlin Award for securing 1st position at B.F.A. level at Kala- Bhavana, Santiniketan in 1997. He was awarded 1st prize at the Eastern Print Biennale, by Eastern Zonal Cultural Center, Kolkata in 1995. He has also received National Scholarship of the Ministry of Human Resource and Development, Govt. of India in 1996-98. He lives and works in Santiniketan.

Statement

Behind our perception lies a definite act of choice, of choosing to look at images from behind a personal experience database. What we see is transformed by what we know and vice versa. Mechanical interventions have made a remarkable impact on human perception- looking at an enlarged close-up of some small insect in a magazine like National Geographic or looking at a 60’ by 40’ print of a human face in a cinema hoarding changes the usual knowledge/ information about them. It opens another world in front of human eye. The world of both the macro and the micro has been made available to human intervention and interpretation. A tiny square inch of human skin enlarged a hundred times transforms into a different kind of visual which may look like a geographical map or even a piece of fabric. It breaks into a floating mass of strokes and in a close-up view constructs an image within itself. Once the photographic image is selected it is modified and reworked upon, the original image may be recognizable, but when split through enlargement and mapped on canvas on a huge scale, becomes a visual oriented survey documentation/record. In the process it retains the outer shape and the inside details are transformed into abstract motifs. I call this integrated disintegration. Engaging the self to paint over all these details is a mind locking exercise or a slavish act and the final visual along with the whole process may be considered a metaphor for the monotony and repetitions in daily life, the obsessions related with unexposed areas of human mind, youth, sex, physical transformation, & the temporal existence of things.

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Ravi Kumar Kashi

Ravi Kumar Kashi

Biography

Born 1968 at Bangalore, Ravi completed his BFA in Painting from College of Fine Arts, Bangalore in 1988, MFA in Printmaking from Faculty of Fine Arts, M.S. University of Baroda in 1990 and M.A. in English from Mysore University in 1995. He is a visiting faulty in the Dept of Architecture and the Department of Visual Arts, at Bangalore University. In 2001 he studied handmade papermaking under J. Parry at the Papermaking Resource, Glasgow School of Art, in the UK, with a grant from the Charles Wallace India Trust. Since 1991 he has had thirteen solo shows and many more group shows at Bangalore, Mumbai, New Delhi, Chennai, and Hyderabad in India and Glasgow in the U.K. He has also taken part in a number of curated shows and annual exhibitions in India and in Munich, New York, Singapore, Hong Kong , Glasgow, Perth, Mexico, Toronto including 10th Triennale India held in New Delhi and 11th Asian Art Biennale, Dhaka, Bangladesh. He has won Karnataka Lalit Kala Akademi award thrice and National Award in 2000. Ravi also writes on art in Kannada and English for various magazines and newspapers. He lives and works in Bangalore.

Statement

When I did these works the idea was to look at the act of seeing and the word real critically. When I use the word I am ‘seeing’ it means many times that the image is ‘focused’ and related to the word ‘real’ as seen in the context of photographic reality. But this ‘real’ could be at various levels. While taking a picture what is seen as real in a frame/ picture might vary if I change my focus. If I pull back it might become blurred or if I go deeper it might blur according to the capacity of the lens as well. This probing deeper might lead me to another world. Like a picture of my hand at one point might seem real but if I use powerful microscopic lenses I will see something else. This may not look like any thing visually related to hand at all. It might lead me to understand the cell structure. This ‘something else’ will not be a photographic reality as commonly understood. In one of the works I have used a cropped picture of a red orange flower on one side and a pixilated detail of a tiny portion of the same flower. In the portion I have chosen to blow up, because of its ambiguous nature, it doesn’t seem like a flower in one go. It starts looking like the innards of the body. The right side pixilation, a result of going closer makes the idea of flower even distant. In this work I have also used words related to seeing or various aspects of seeing. Touching can be a way of seeing (for blind people). Or understanding a point might be a way seeing (when I say ‘I see your point’). Or visualizing future might be a way of seeing what should be rather than what is. In the second work I have used various thin layers of colours to suggest the various filters with which things are perceived. Words filter and scan appear in it to suggest the process of filtered understanding. I have used in both the works images or part of an image from photographs which I have taken recently along with found text/ images. This is another strategy I am trying in some recent works so that my work becomes a mixture of what I see and what others have seen and how I see them.

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Reena Saini Kallat

Reena Saini Kallat

Biography

Born 1973 in New Delhi, Reena did her B.F.A in Painting from Sir J.J.School of art, Mumbai in 1996. Solo shows of her work include ‘Black Flute (and Other Stories)’ at Nature Morte, New Delhi in 2005; ‘Black Flute’, Mumbai in 2004; ‘The Battlefield is the Mind’, Bangalore in 2002; ‘Seven Faces of Dust’, Mumbai; ‘Skin’ at Mumbai & New Delhi in 2000 and ‘Orchard of Home-grown Secrets’, Mumbai in 1998. She has participated in over 40 group shows both nationally as well as internationally. She was awarded the Second Prize Government Award by Sir J.J. School of Art, Mumbai in 1996 and also the Bombay Art Society Merit Certificate in the same year, First Prize by State Art exhibition and Gladstone Solomon Award in 1995. Reena lives and works in Mumbai.


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Riyas Komu

Riyas Komu

Biography

Born 1971 Kerala completed both his B.F.A and M.F.A from Sir J.J.School of Art, Mumbai (1999).

His solo exhibition includes; \'Condition\', Kashi Art Gallery, Kochi in 2012; \'Oil\'s Well, Let\'s Play!\', Fondazione Arnaldo Pomodoro, Milan in 2010-11; \'Subrata to Cesar\', Gallery Maskara, Mumbai in association with The Guild Art Gallery, Mumbai in 2010; \'Safe to Light\', Azad Art Gallery, Tehran in 2010; \'Related List\', Bodhi Art, Berlin; \'Mark Him (Second Half)\', Galerie 88, Kolkata in 2008.

He has participated in number of group shows across the globe, including \'Peak Shift Effect\', Vadehra Art Gallery, New Delhi in 2013; \'2 + 2 = 5\', The Palette Art Gallery, New Delhi; \'The Contemporary Sultanate\', presented by Exhibit 320 at One Style Mile, Olive, New Delhi in 2012; Gallery Sumukha, Chennai; \'Pause: A Collection\', Sakshi Gallery, Mumbai; \'High-Light\', presented by Sakshi Gallery, Mumbai at The Oberoi, Gurgaon; \'Palimpsest\', Aicon Gallery, New York; \'Tolstoy Farm: Archive of Utopia\', presented by Seven Art Gallery at Lalit Kala Akademi, New Delhi; \'Tech-Cut-Edge-Revelations\', Ashna Gallery, New Delhi; \'Myth - Reality: Constructing Cult-ure\', The Guild, Mumbai in 2011.

He is a recipient of K.K.Hebbar Foundation Society Scholarship in 1997- 1999, Bombay Art Society Award in 1996 and Maharashtra State Art Prize in 1995. He lives and works in Mumbai.



Statement

These three photographs are taken in New York, recently, with an interest to illustrate the�portrait of a new age city-sky.


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Shivani Aggarwal

Shivani Aggarwal

Biography

Born 1975, Shivani completed her Bachelor of Fine Art in Painting from College of Art, New Delhi in 1996. She has held her solo exhibitions at Wimbledon School of Art, London, in 2003, where she went as an artist in residence with a Charles Wallace India Trust Scholarship. Her work has also been shown at the British Council, New Delhi in 2004. She has been a part of many group shows in India and aboard. She received Bronze medal in the All India exhibition of contemporary artists, Avantika in 1998, Graphic Scholarship from the Kanoria Centre for Arts, CEPT Campus Ahmedabad in 1997-98, Charles Wallace India Trust Award for one term at Wimbledon School of Art, London in 2003 and Garhi Grant from the Lalit Kala Akademi in 2004. She lives and works in New Delhi.

Statement

My work is about cultural and social layers that we wear almost like clothes.Our mind, which is layered with social, cultural and gender beliefs, has been the most important concern underlying my art practice. We almost wear these beliefs in order to attain the typecast of a successful social being. Can there be thought or action outside this mental structure? My work attempts to express as well as question this. ‘Under this mask another mask, I will never finish removing these faces’ (Claude Cahun)

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T V Santosh

T V Santosh

Biography

Born 1968 in Kerala, T V Santosh did his B.F.A in Sculpture from Kala Bhavan, Santiniketan in 1994 and M.F.A in Sculpture from Faculty of Fine Arts, Vadodara in 1997. He has held solo shows in New Delhi in 2004, Mumbai in 2003 and Vadodara in 1997. He has participated in many group shows including ‘Are we like this only’ at New Delhi in 2005, ‘Exile and Longing’ and ‘Engendering Images of Women’ at Mumbai in 2002 & 2001, ‘Trans-figuration’ and ‘Creative Space’ at India Habitat Centre, Delhi in 2002, Bangalore in 2003, ‘Highlights’ at Mumbai in 2003, ‘The Dual Path of Indian Art Today’ at Gallerie Muller & Plate, Munchen in 2003. He was awarded Inlaks Foundation (Indian) and Kerala Lalit Kala Akademi scholarships. He has also received National Scholarship from Department of Culture, Ministry of HRD in 1997. He Lives and works in Mumbai.

Statement

One looks at the world through tinted spectacles of news reports, that unroll the stories of massacre of innocents, spectacular highlights of explosions, flux of faces of people who make headlines, spitting the words of hate and arrogance and the kinds of propaganda campaigns that just struggle to hide nothing but truth. It is a strange world exposed and manipulated. A world where, one does not know who is the real enemy, yet ‘terror’ is the common word for both those who resist and those who attack.  It is one’s extended vision that constructs and reshapes the perceptions of the ‘present’. And it is riddled with a number of eternal questions and a couple of ready-made yet elusive solutions, which I am interested in. It is the touch and smell of the ‘present’ I am dealing with in my works, in a process to find a solution, where the praxis of language becomes one with the perceptions of reality. More recently, I have been appropriating in my works the logic of turning a positive photographic image into its negative. Negative images evoke the inverse aspects of the phenomena. As certain elements get deleted and become unrecognizable, they reveal an event’s hidden implications. In the process, the elements of ‘ local’ lose their specificity, attaining instead a universal significance and vice versa. Marking a shift from my earlier paintings and its linguistic concerns, which dealt with a world as seen through the pages of history that tells its stories through the images of metaphors, my recent works deal with devised ‘glimpses’ of much larger, unresolved stories of immediate happenings.This is a news report image, a detail from a photograph of a person who was part of a war protest procession. The little scribble on the palm in Arabic script means ‘No War’. Rather than reinterpret the notion of ‘gaze’ strictly according to John Berger, I see the news report /journalistic image as a window to the world of reality. It is one’s extended vision that constructs and reshapes the perceptions of the ‘turbulent present’.

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CATALOGUE

Ways of Seeing - 2005

Ways of Seeing - Group show of the post-modern art
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Ways of Seeing : Any Which Ways...
By Sushma Bahl


What does a way of seeing, an engagement with the aesthetics of art and an encounter with creativity seem to entail? The exhibition with a new body of ……..art works by 25 young artists from diverse backgrounds, schools of thought, art practise and regions of the country attempts to explore their many different ways of seeing. They make an interesting and unusual group together, though each one of them has his/her individual oeuvre. While some of them are reclusive others are more articulate, some minimalists others profusely projectionists. But given that they all share a common historical juncture with its inherent cultural associations, in current time and space, it would be fascinating to see if and how this has impacted on their creative outpourings and their ways of seeing things. In a complex and mass media fashioned and globally networked contemporary society, where individuals have very little time to stand and stare, we will re-examine this question within its historical genesis and try to see and re interpret it in a current context. Are there certain set principles of seeing or can art be viewed in any which way? What are the different ways of seeing an art work, for its creator on the one hand and its spectator on the other?

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