Wednesday, 1 February 2023

The Mystery Cult

These new paintings by Sachin Sagare, like his previous body of work, arrives in a headlong rush of invention festooned upon a canny theme, in this case the female body in nature. He places groups of rural women worshippers; he names them as nymphs, dryads and goddesses into clearings in deep, dark background, thus activating irresistible tropes of an Indian painting tradition meant for royals. A more occult art comes to mind in these unkempt, unruly wildernesses, one which begins with the temple women.

Artist: Sachin Sagare

The large acrylic paintings in the exhibition swirl chorus of graphically insistent folk women, white blossoms and filigreed stalks that recalls the backyard raptures of rural India. Sagare’s glades are uninhabited; their everyday ecstatic includes luminous beings, spirits of the feminine whose spare, archaic profiles float among the flowers. Faces, flowers, oil lamps and puja-thalis  are painted with a kind of folk-art zeal while the cerulean temple walls behind, solidly modeled then dematerialized by dancing layers of sprayed pigment, is appealingly contrary in color, scale and attack.

Sagare’s experimental approach to mark-making thick or thin, macro or micro, tight or loose, brushed, sprayed or sponged goes for both background and figures. In one his paintings a lone woman in a classical pose is incised in green against the mottled background like a fading figure on a krater. Also cut from traditional lines, in this case black, are five hollow women in mystery cult, who seem to be lost, while by contrast, in the other work the three women protagonists are entangled in a single libidinous squiggle of green and yellow paint that, like flesh to verges on the repulsive. Changing tactics again, Sagare gives the golden apparitions to the three women with an earthy substance. They gesture with a narrative refinement that suggests, along with their warm, coppery tarnish, the microcosmos of an old temple pillar. Sagare, however, putting the brakes on such skillful seduction according to his restless temperament, encloses this exquisite scene in a dark, seething carving on temple panels and walls as brut as the figures are delicate.

Gender critique aside, the painting’s are busy, stop-motion scenography seems like an attempt to do the uncannily naturalistic, his figures form a certain logic to the way followed. The paintings in the show, for that matter, are distinctly re-engineered for function the small paintings marvelously contain their own charm. A large work rages a preposterously scumbled orange-green, barely contained by the jutting blue and purple forms of super-cooled, super-flat conifers. As in all the paintings, however experimental, internal typology is firmly organized motifs, motifs, figures and oil lamps. In this second large, ravishing version of the theme, clamorous day has turned to mysterious night. The precisionist symbolism echoes in Sagare’s crisp and fluorescent canvases, scintillating against a nocturne of blue-violet and black. Yet rogue textures icky drips and thorny bumps interrupting the most beautiful passages remind us of art concoction.

The paintings of Sachin Sagare display an overwhelming elasticity to them. Visceral grit, orchestrated by a network of collaged material, weaves its way into more traditional painting language. Elegance is replaced with subtlety of intrusion and the tenderness of seamless collision. His figures are painted with skins that seem vividly translucent, allowing us to gaze through the stratified layers of paint. Their luminescence seems both coy and purposeful, often serving as the only rational light source.

Sagare manages to excise gender performances from his paintings almost entirely In this intentional defamiliarization of space, he begins to deflate the omnipresence of normative social structures that forcefully define how and where conventionally feminine bodies are supposed to function. In this way, he prevents us from hijacking the agency of these figures forcing us to read their bodies as texts. Denying conventional legibility and insist upon the opacity of their own historical narratives.

What I find most intriguing about this work is the way Sagare leans into this obscurity instead of privileging clarity. This playful and at times spectacular irresolution plays a significant role in his work.  Bodies are refigured as complex ensembles, brilliantly synthesizing the facility of his line, his deft paint handling, and a color sensibility.  A collection of hieroglyphic hands, heads, with an elastic relationship to one another and to the spaces they occupy, these robust and curvaceous figures at times aggressively push the limits of the picture plane and at other times are jettisoned into the constellation of body parts strewn about the canvas.

With a firm and confrontational pose, torso twisted around and eyes focused back onto us and with a full view of his bare behind, the figure entices viewers toward this conceptual edge of the painting, reminding us that our polite curiosity is not to be trusted.

We do not miss the clarity of representational narratives in these paintings. Instead Sagare presents us with a curious proposition. What if we affirm the unconventional complexity in the bodies of the women folk? What happens to gender if we decenter masculinity and femininity and consider other modes of selfexpression, displacing history to freely probe and repurpose the sources of our identity construction?  There is no rush to answer these questions here. He instead forces us to sit, wholly attentive and present with every painting. This is encouraging.

- Abhijeet Gondkar

 Press Release

31st January to 6th February 2023

“The Mystery Cult”

An Exhibition of Paintings by contemporary artist Sachin Sagare



Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda , Mumbai  - 400 001

Timing: 11am to 7pm

Contact: +91 9011251869


"The Wandering Shadow" An Exhibition of Paintings by contemporary artist Milind Limbekar

This exhibition was inaugurated by Mr. Sudhir Mungantiwar( Minister of Cultural Affairs, Forest, Fisheries, Government of Maharashtra in the presence of many art dignitaries.

Artist Milind Limbekar


The Wandering Shadow


The wandering of mind and soul needs some place to open up. My recent series of paintings has got such space to explore. The present moment, has always a dual feeling of present and absent. The missing moment always travel with us and our wandering mind gets attracted to those whom you feel shall be yours. These missing moments are what I call shadow, they are almost everywhere. The animals in the painting are representation of curbed desires, the anthropomorphic forms that appears comes from anxiousness and split personality which is subtle and dramatic. No wonder the dramatization id shown always in night scenes because they are always hidden like mystery. You have to search and understand them the most vulnerable part in my work is the expression and gestures. I still feel it as incomplete process because the concept of my painting is abstract and can be better represented in abstract manner.


 Press Release

31st January to 6th February 2023


"The Wandering Shadow"


An Exhibition of Paintings by contemporary artist Milind Limbekar



Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda , Mumbai  - 400 001

Timing: 11am to 7pm  

Contact: +91 9423680511, 8999722709

Sincerely from 2005 + 1000 drawing books Solo show Drawing Books by Tathi Premchand


Sincerely from 2005 + 1000 drawing books
Solo show
Drawing Books by Tathi Premchand @tathi_premchand_studio


Artist: Tathi Pemchand
Title: Untitel
Size : 9 x 11 Inches
Medium: Pen, Pencil and Mix medi on paper
Year: 2005 - 2021
Categories: Spontaneity abstract , Figurative, uncategorized.
Object: Drawing Book

Price : Rs 1000000/- ( Each book 100 pages )
10 Book set, Rs 10000000 /- $ 122211.30 ¥ 15933770.00 (Rs. 1cr )

Note: Stainless Steel rack is free home deviery. @amazon @flipcart

RSVP: 31st Jan to 28th Feb 2023
"Please respond", to require confirmation of an invitation.


Visitors by appointment

Thursday, 26 January 2023

The spontaneous actions that are a result of subconscious reactions reproduce dreams of space, infinite secrets and potential outcomes of another new world - Smita Kinkale

Smita Kinkale, a celebrated and fable artist especially known for her textured artworks made out of recycled and treated Polymer is being showcased at Tao Art Gallery’s “Unstructured Pursuit Of Perspectives” as a part of the Mumbai Gallery Weekend 2023.

Artist: Smita Kinkale

Her works are a combination of layers of material, thoughts and experimentation. Conveyed forward by a creative mind and the investigation of the notions from her childhood, these artworks are a juxtaposition between abstraction and figurative demonstrations.

This exhibition pictures the artist’s perspectives of visualising the world around and analogy of matters in nature with humans. It creates an ‘unstructured’ experience through art and creativity and makes the viewers consciously sensitive. The combination of lines, dots and primitive shapes created through the layers of polyethene delineate her growing up in rural communities and tribal roots.

The spontaneous actions that are a result of subconscious reactions reproduce dreams of space, infinite secrets and potential outcomes of another new world.

Completed her art education from Sir JJ School of Fine- 1999, Art and the artist lives and works in Mumbai.Smita Kinkale participated in many national and international solo and group exhibitions with Private collection of her painting around the world -

 - Text by Sanchita Sharma

New Delhi - Artblogazine

Tao Art Gallery presents works by  Smita Kinkale  & Rajesh Wankhade under exhibition

"Unstructured Pursuit Of Perspectives” as a part of the Mumbai Gallery Weekend 2023

•A two-man show by artists Rajesh Wankhade & Smita Kinkale, curated by Sanjana Shah •'Unstructured Pursuit of Perspectives' is an amalgamation of different perspectives, where both artists make an 'un-structuring' happen through their art to create parallels of perspective in the mind of the viewer•The end goal is to show the unified state of all, stripping away the existing rigid narratives around the uses of matter and roles of humanity•The works by both artists are layered by not just materiality but also in thought, challenging notions of time and space, presence and absence. •The show opens as a part of the four day preview at the 11th edition of MGW ( January 12- 15) and will continue until January 31, 2023 •As a part of the opening weekend, the gallery will also be hosting  the Staatskapelle Berlin to perform a set of string quartet. It will be an evening wherein Art meets Music!

Tao Art Gallery : Sanjana Shah

Mumbai, December 27, 2022: TAO Art Gallery in collaboration with HIMS Academy, Germany will host a unique show called "Unstructured Pursuit of Perspectives" for the 11th edition of MGW. Curated by Sanjana Shah, the exhibition will showcase artworks by upcoming contemporary artists Rajesh Wankhade & Smita Kinkale. The show opens as a part of the four-day preview at MGW 2023 - scheduled from January 12- 15, 2023 and will be on display till January 31, 2023. 

A prominent part of Mumbai's contemporary art scene and MGW roster - Tao's latest show highlights the fundamental human pursuit of revelation. Both artis make an 'un-structuring' happen through their art to create perspective parallels in the viewer's mind. 

In the spirit of celebrating diverse forms of art, the gallery will be hosting Tilia-Quartet of Staatskapelle Berlin on Saturday, January 14, 2023 (6 - 7:30 pm). Four young musicians of the Staatskapelle Berlin will perform iconic pieces by Franz Schubert, Wolfgang Amadeus Mozart, & Felix Mendelssohn-Bartholdy. Taking its name from the Staatsoper Unter den Linden - Berlin, Tilia being the Latin for Linden Tree, the Tilia Quartet has performed in numerous highly acclaimed concerts in Germany and several international festivals. 

"Disillusionment causes the breaking and re-making of who we imagined ourselves to be. However, the human capacity to look beyond, despite the chaos within, is beautiful and necessary for growth and new perspective. Artists Smita Kinkale and Rajesh Wankhade, in their extremely different and distinctive mediums, explore just this fundamentality of existence. The works are layered by not just materiality but also in thought, challenging notions of time and space, presence and absence" says Sanjana Shah, Creative Director of Tao Art Gallery.        

Taking a cue from the use of plastic from her childhood village, Smita uses layers of plastic and converts them into aesthetic models of experiential art. Her series called "Neo Nature" attempts to make the viewers conscious about her new world and introduce them to sensitive consciousness. Drawing inspiration from spiritual happiness, Rajesh uses a more figurative approach in his artwork. His artwork is more figurative - where human forms are moving between various stages of disintegration - displaying movement between different planes beyond the physical.

Kinkale says, "I have always captured my imagination in lines, dots and primitive shapes through many layers with a combination of polyethene. It reflects my growing up in a rural backdrop and my tribal roots. The material I select for my works has a tactile appeal. I create and make references to the images of my work which is a subconscious reaction which I lived but also transformed to other new spaces." 

Replete with the juxtaposition between the abstraction and the figurative, the show interestingly explores the thought of what is material, what is spiritual and their interchangeability. The end goal is to show the unified state of all, stripping away the existing rigid narratives around the uses of matter and the roles of humanity. 

Artist: Rajesh Wankhade,  (Oil colour & mixed media on canvas)

Speaking about his artwork and inspiration, Wankhade says, "I live in this stream of thought every day. A lot of questions arise, and they try to solve them. And then, instead of studying the world, it is expected to study oneself. Then the focus is on itself. And while exploring oneself internally, a thesis was formed. The vision of seeing oneself with a scientific body matured. So human figures in search of knowledge started appearing in my paintings. The human form in my paintings is always in search of knowledge. Such knowledge that beyond that knowledge, there is no turning back. He strives to find the ultimate end of giving. So in my painting, space and time got a place. The clock came as a symbolic form of time."

Tao Art Gallery

Address: 165, The View, Dr Annie Besant Rd, Worli, Mumbai, Maharashtra 400018

T: 022 2491 8585  |  E: