Thursday, 31 July 2014
Wednesday, 30 July 2014
Search for Integrity :It might be loss of zest and helplessness to achieve dreams
Hold fast to dreams for if dreams die,
Life is like a broken-winged bird that can not fly.
- Langston Huges.
This quote aptly applies to artist latest creation. The artist has created and displayed his work after the years of self confinement from artistic expression.
Life is like a broken-winged bird that can not fly.
- Langston Huges.
This quote aptly applies to artist latest creation. The artist has created and displayed his work after the years of self confinement from artistic expression.
His classic style of expressing the theme by using matchsticks is a treat to eyes and mind piercing as well. Here too, he has shown a male form by using matchsticks in mirror box. The unfulfilled desire to break free or being voluntarily or involuntarily pulled in duties of crass society are the unseen inner conflicts that are symbolically represents by showing a broken winged bird. There is a hope for an undivided or unbroken completeness or totality with nothing wanting. A single wing is made and reflected in mirrored box, which gives the impression of broken wings. It might be loss of zest and helplessness to achieve dreams.
But Santosh does not aim only to show the disquiet and depression; instead he comes up with more mature and serene thought of attaining inner peace and moral soundness in the chaotic surrounding of the world that he lives in. The recuperating soul is represented by the use of blue color that suggests peace and calmness.
He has deliberately used pointillist coloring style so that the sorrow and peace seems to be integral in its completeness. His work also seems to be influenced by Warli painting art that has series of dots and monochromatic hues.
But Santosh does not aim only to show the disquiet and depression; instead he comes up with more mature and serene thought of attaining inner peace and moral soundness in the chaotic surrounding of the world that he lives in. The recuperating soul is represented by the use of blue color that suggests peace and calmness.
He has deliberately used pointillist coloring style so that the sorrow and peace seems to be integral in its completeness. His work also seems to be influenced by Warli painting art that has series of dots and monochromatic hues.
Abstract
art has come far ahead from use of conventional materials of canvas,
paper and colors. It is now expressed in installations, digital medium
and so on. One of such out of the way is the work of Santosh, an
artist from Mumbai. An art graduate from Sir J. J. School of Arts has a
unique medium of expressing his thoughts and that is through using
matchsticks on ply.
The
basic elements of his paintings are male and female. He uses
matchsticks and the geometric forms made by them represent male and
female. The horizontal or vertical placement of matchsticks represent
male and triangle represents female. These paintings illustrate male and
female relationship. He started working using matchsticks right from
the days in Art college and the first creation was 'Khajuraho Night'
based on the famous Khajuraho temple. He then worked on 'Krishna' his
next painting where he showed one male amongst thousands of female. Here
he used approximately five thousand five hundred and fifty matchsticks
for female form and at the centre was an abstract image of Krishna in
ceramics. This was a mixed medium. Even now his paintings are based on
mixed medium and he says that from the very beginning he loved to
experiment in using various mediums.
His
work stands out because, unlike the basic of Abstract art where
expression is formless and expressed through colors, he uses very less
colors and highlight more on forms, though most of them are geometric
figures. This may be because of Prabhakar Barve, the great painter whom
he admires for the forms and their placement in his paintings. He also
has high regards for Prabhakar Kolte.
One
can also find the traces of Warli paintings in his works. He reasons
that there is a repetitive form in his paintings because for him
repeating the same thing again and again means a total involvement with
it which is like a meditation, concentration and ultimate nirvana of the
soul. To put in his own words, “Like a Warli painter who depicts his
life by drawing it on one background, even I try to portray my life's
experiences, influences and curiosities using repetition on a single
colored background.”
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com
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Thursday, 24 July 2014
Lizard Installation of Drawings by Tathi Premchand.
Wednesday, 23 July 2014
Ashok Hinge ‘Guru-Shishya’ installation work on review by Pankaja JK
‘Guru-Shishya’ installation as name suggests, is an installation that has well-known reality imbibed in it. It’s about Guru-Shishya (Master-Disciple) relationship which every individual experiences in his life. I have tried to present an ancient tradition of imparting and gaining knowledge where a master would secure higher position and a disciple would sit down and bow on his feet. These postures are symbolic suggesting that the knowledge would transcend from Guru to his devout disciple. This position also develops the relationship between guru and disciple. The vibrant energy of guru is transmitted in shishya and it ignites wisdom of knowledge in him It is the ‘Responsibility (of guru)- Dependency (of disciple)’ relationship.
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Installation Artist Ashok Hinge |
The faith plays an
important role in it. Guru is supposed to have highest knowledge and shishya
should have wisdom to acquire that knowledge and utilize on individual level.
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Installation view at Art Gate Gallery |
To present the Guru-Shishya
tradition I have used the most effective tool of English language i.e. Comma.
Comma is used in English language to have pause between sentence or to separate
elements in series. It is the only punctuation mark which has upside down and vice
versa position.
I have used both positions in my installation as it makes my symbolic representation perfect. The ‘right to left’ facing comma is Guru in sitting posture and ‘left to right’ facing comma is Shishya bowing in reverence and touching his feet, which ultimately helps divine energy of guru to transcend in Shishya.
I have used both positions in my installation as it makes my symbolic representation perfect. The ‘right to left’ facing comma is Guru in sitting posture and ‘left to right’ facing comma is Shishya bowing in reverence and touching his feet, which ultimately helps divine energy of guru to transcend in Shishya.
I choose the white color
for installation and it is deliberate. In Guru- Shishya parampara(tradition),
both of them generally wore white as a
symbol of purity and devoid of any blemish. It’s with purity of heart and mind
that knowledge is transmitted by guru to shishya.
Pankaja JK
Art critic & writer:- Art blogazine 2014
26th July 4th August : SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com
(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency and online social media, please share )
Art critic & writer:- Art blogazine 2014
26th July 4th August : SAVE DATE: ART TALK at 6 pm Art gate gallery, churchgate Mumbai
Art Gate Gallery can be contacted at:022 4213 8855
or emailed at artgate.sc@gmail.com
(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency and online social media, please share )
Tuesday, 22 July 2014
Lizard Installation of Drawings by Tathi Premchand.
Art
is the visual history of a given period. Nature is evident and apparently
beautiful. Man progressed and steadily brought change in its appearance;
bringing in more man-made materialistic things. Artists of every age with realistic
outlook always capture these changes. Some are figurative and some abstract. My
interaction with nature as well as reality of urban people has led me to create
these drawings, portraying the truth of contemporary scenario. Every work has
different appeal and presentation method, setting different moods with use of
topic relevant colors, forms and style.
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Recent Drawing by Tathi Premchand at Art Gate Gallery |
I
create these drawings because I am more sensitive towards societal issues. I
like to paint social issues and causes and make a critical statement through my
work. With times, lifestyle, infrastructure of the society and more over
behavior and outlook have changed, I try to showcase that change- either good
or bad or say, two sides of the same coin. I like to be binocular and scan
society at the farthest.
In
these webbed drawings are hidden faces of people with many shades of struggle
for survival. No where is meditative and tranquil mood. There is awe, stress,
astonishment, question remorse and so on.
The knife edge is what that we advance on. We
are ripped with the sharp tip everyday. Still we find our path through it.
These struggles and enwrapping due to social disruption have their own
attractive token; a sentimental value. I have worked with pencil and pen on
paper.
In
Drawing I deliberately painted skeleton on Electricity bill. Having basic
needed things include electricity, but
the charges are too high; the power is less as compared to powerful bills and
that is killing people, reducing them to skeletons.
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William Kentridge : David Hockney |
The
two most influential artists whom I admire are William Kentridge. David
Hockney is always a third party observer
putting the reality on paper using pen drawing. William Kentridge uses
scribbled papers for his expression of reality. I feel this is an effective medium
as it makes drawings more worth and iconic.
This
series has various lines combines with styled circles, a white or black spots,
hiding the emotional facial gesture of the person. I have captured the
complexity using basic tools and in completely freehand manner.
Titles
also play prominent role in my creations. A word or two speaks all. I have
pasted my drawings on cardboard boxes and let them be on wall. I call this
series ‘Lizard’, as I am awed by its most unique feature to stick to the wall.
Just like it pathos and poignancy that never leave us.
And
as I adamantly state, “My paintings are not just show pieces to decorate walls,
but are the thoughts to be pondered upon.”
- Tathi Premchand
Translation by Pankaja JK
Translation by Pankaja JK
(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency and online social media )
‘Visual Archives of Kulwant Roy’, curated by Aditya Arya, on 1st August 2014 at 6 PM at the NGMA Mumbai.
National
Gallery of Modern Art, Delhi and Mumbai, Ministry of Culture Government
of India and India Photo Archive Foundation cordially invite you for
inauguration of exhibition titled-
‘Visual Archives of Kulwant Roy’,
This
exhibition presents a historical visual treat, from the priceless
collection of photographs taken by press photographer Kulwant Roy’s, prints
and negatives. In the process of documenting the rare photographs of
Kulwant Roy, Mr. Arya discovered a rare and valuable visual archive,
including many unpublished pictures, of a momentous era in India's
history which form the part of this exhibition. These priceless images
from around the 1940s, which lay hidden for decades, have been brought
back to life through the expertise of Mr. Aditya Arya. As a result, we
can now gaze into the evocative faces of the valiant women and men who
made history in our land six decades ago, all very skilfully captured by
Kulwant Roy’s brilliant lens.
Kulwant
Roy was born in 1914 in Bagli Kalan, Ludhiana and educated in Lahore.
Without any formal training in photography Roy then joined Gopal Chitter
Kuteer’s studio in Lahore. He joined the Royal Indian Air Force in
Kohat near Quetta in 1941. However, he found it difficult to tolerate
the discriminatory policies of the British government, which resulted in
his ouster from the air force. By then his experience of taking several
aerial photographs from the cockpit of the planes that he used to fly
had laid a firm foundation for the shape of things to come. Roy became
passionate about photography. As a freelancer in Lahore, he documented
several significant political events in Pakistan. Re-locating to Delhi
in 1943, Roy started his own agency, the Associated Press Agency in
Delhi. It was during these years that Roy captured untiring images of
well-known historical events some of which are displayed in this
exhibition.
Director
National Gallery of Modern Art, Mumbai
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Ashok Hinge New Work at Art Gate Gallery
Monday, 21 July 2014
Tuesday, 8 July 2014
FILM SCREENING SATURDAY at Art Gate Gallery
Wednesday, 2 July 2014
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