Friday 7 March 2014

Abstract art has come far ahead from use of conventional materials of canvas, paper and colors. It is now expressed in installations- K.L. Santosh

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 K.L. 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.
(2004 Installations work by K L Santosh)

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.
( KL Santosh and Pritish Nandy at art gallery Mumbai 2005)

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.”

With his artistic progression' there emerged a change in his forms. With being more geometric in forms, of course the use of mix mediums still continues. In his 'Mumbai- Shanghai' show he made an installation called 'Why not', in which he had used the glass cover to suggest that progress is good only without neglecting nature.

These meditative paintings are very valuable in this stressful and competitive era.  

- Pankaja JK

Fandry is more then Painting and Art :coming soon review by Pankaja JK

(Donot miss : Must Watch)

Thursday 6 March 2014

Hungary for Art : Chandrakanth Ganacharya

( Installation by Chandrakanth Ganacharya)

Words  often recorded in terms of time . At the time, the creator of this intervention is to assess the level of criticism .On the art ' dialog ' is a new initiative - the eye of the creator of the term and timing speculated ... Long - term survival in dialogue plagued by contradictions between the flights of the flow and think of words that highlights significant possibilities.

In the project I used belly related proverbs and as well as publican's emotional Quotes. All the proverbs and Quotes has the philosophy of time. Those expressions comes from life experience and it will guide & taught by local seniors, intellectuals, and by philosophers.

The Installation art migrating people who force migrate for an essential needs, they know better importance of empty belly.Artist used Hotel, Canteen, Mess and Road Eating eateries for the project.

(copy right image by  Artist Chandrakanth Ganacharya)

Tuesday 4 March 2014

My works intimately weave the moments of emotion with spaces for which we cannot scramble: Farzana Ahmed Urmi

Surrounding me Form my childhood I grew up alone. My thought was surrounded by myself. So almost all the time I became engaged with my own self and my own dream. But as I grew up my surrounding too became my preoccupation, though I found it not so inimical to my personal dreams. Society creates a lot of obligations, those that help me to clear my thoughts. These are things which are involved with my own life, career, family and my personal Life. When I was allowed admission at fine arts institution I started thinking deeply about life which totally changed my philosophy of life. 
(Artist: Farzana Ahmed Urmi- Dhaka)

My views became more realistic. I came very close to people. Both known and unknown people caught my imagination. Form than on to the present day my thought became engrossed in my surrounding. For me human being as a subject became a central issue. I studied printmaking at university. But following my passing out I started working on canvas. Here I have amassed what could be seen as my achievement in the past three years. I draw energy from both real life experience and from my subjective feeling. The works that I have brought under the tile “Lost Spaces” allude to the interior world – one which we have seen the wear and tears in the last few decade. Modern life has become all about voicing discontentment and making a statement to refute one another. In this climate, I feel that art should address the silent spaces that rest between human existence and nature, between clarity and ambiguity, and even between consciousness and unconscious reckoning. Thus my works explicate a veritable desire to express the inexpressible human condition; they are like a response to the world busy in production of knowledge and discourse through which we have failed to secure a future for all. My works intimately weave the moments of emotion with spaces for which we cannot scramble. It is remembering of the way of life we are slowly losing to speed, technology and info economy.
(Artist: Farzana Ahmed Urmi- Dhaka)

Seeds of memories, feelings and sensations are sown in the field of creativity of Prakash Waghmare

Seeds of memories, feelings and sensations are sown in the field of creativity of Prakash Waghmare. In his paintings, colour performs the transformative function; it is closely linked to the psyche of the artist as the individual characteristics of colour and form evolve into a cohesive environment that speaks for itself.

In the current exposition, works on paper created by Prakash are based on his artistic journey through the refinement of elemental forms, bearing their roots in cultural stimulations that mould his conventions. One notices extensive and intriguing excavations of lines on the surface that lend their existence to create orderly patterns and grids.

Drawing inspiration from folk tradition, Prakash explores its influence through personalized paintings with an evocative mood. While interpreting the relevance of folk elements he sees their hidden connection with the fundamental shapes such as squares, triangles and circles. They, he thinks are the "kana" – backbone or armature of nature around and provoke us to meditate upon the essential visuals. It gives a constructive support to his entire act of painting. Thus he reveals the direct relation with energy that first comes into existence in the form of a square divided diagonally into triangles and then gets unfolded like a lotus representing life; the same if looked upon from a birds eye-view reveals the linear skeleton of a pyramid representing the residue of imperishable souls.

Each work reflects deep memories that have touched many phases of his life as a painter. These unforgettable memories are cherished through the silent process of Prakash's visual transformation.
Untitled : Oil on canvas before 2005

Simplicity conveys and heightens the nature of content in order to attain the purity of colour and form in his work. The ease with which he orchestrates his palette reflects the authenticity of the artist's spirit. His paintings correlate to the optical balance in the natural world and its everlasting impact as nature defines and refines itself by inbuilt defaults and external circumstances, both ways as per its need. Prakash follows nature dearly and without distance.

These unplanned structures are implemented with a sense of rusticity and natural rhythm of time. The accidental emergence of patterns appear more thoughtful, and yet thought provoking – demanding the viewers patient look which then may stimulate the mind to contemplate the essence of the spiritual reality prevailing in the artists experience.
Untitled : Acrylic on canvas before 2006

The hallmark of this collection, bereft of modern influence, continues to be the uncontrived, even 'serendipitous', occurrences in the artworks. Prakash works with and harmonizes nature and its universal accidents. While standing in front of a single piece, or reflecting on a number of works, one is set before a visual of many worlds. Optical space appears to simulate the purity of the gaze - between inside and outside, conscious and unconscious - and material or transcendent realities. Accidental happenings of patterns seem almost seems to be setting the plane in motion to prepare one's senses for a visual treat.

Here is an extract of a conversation I had with Prakash:

Why do you create art and what does it mean to you?

My art is created from a deep meditative process. It forms a reflection/impression/expression of influences from around me. It helps bridge the void between the seen and unseen worlds of my imagination.
Untitled : Acrylic and mix on canvas before 2007

What emotions do you wish to convey through this series?

The paintings that I create evolve instinctively. I have attempted to narrate how nature has influenced my style. I experience the sensitivity of form - any form. As I develop this sensitivity, these forms help me express myself naturally. This process has developed into a form of meditation, through which I try and find a path; these unseen, unimagined paths get depicted on the surface I'm painting. I believe that nature is welcoming of all who embrace it. Only when we surrender ourselves to nature can we understand and reflect it in its pure, natural state.

Untitled : Oil on canvas before 2008

How is your work a reflection of you?

My life is represented through my art. All my experiences and influences come together in my art. My sensitivity to people and surroundings get translated into my paintings. It was my experience with photography that made me realize that in a flash I could capture a moment. However, I remained curious to find a deeper realm waiting to be explored and interpreted. I was driven to exploring the world of abstraction, where sensitivity holds the key to every experience. For instance, we don't see the gush of wind that touches our skin, but we can sense it and that's how it makes its presence felt.

It can also be said that philosophy gives me the dimension to express my thoughts through my art. The search of light gives meaning to forms. As an artist I am in search of this light that feeds life and energy into my paintings.

Which artists - living or dead - have influenced you or continue to influence you? Who are the artists you relate to?

Palsikar, Gaitonde and Kolte have helped me develop my vision/ style. Their deep understanding of the subject and how they have expressed it through their art has allowed me to comprehend each of these immensely talented artists. Through my numerous discussions with Kolte Sir, I have gained profound insight into the world of abstraction. They helped me absorb and experience the works of these artists better. Just as nature allows us various experiences when we open our senses to it, insight into the works of these artists allowed me to form a bond with their art.
Untitled : Acrylic on canvas before 2010-11

As Prakash emphatically says, "I don't try to depict reality. I rely on colour, contrast and texture to convey my feelings and make things visible. My paintings are a mix of elemental forms. Images originate in fragments of personal and cultural history, in responses to travels and childhood influences. Traces of places once visited and colours seen evolve as an introspective diary of history, times and spaces. I work from within, allowing all the elements I have been gathering to come alive through my paintings."

Pranali Daundker

Art Consultant and Curator  

(Report courtesy Prakash

Sunday 2 March 2014


When providence brings together a group of enthusiastic like-minded artists from all over the world through a social media platform, few would doubt its successful outcome. The Drawing Box is one such venture which restores hope for artistic pursuits in a recession hit art scenario, reviews Sushma Sabnis.
(PARA at working in drawings box)
Drawing has forever been the basic tool of artistic expression, and one would seldom achieve any kind of proficiency in art unless the drawing was strong. Time immemorial has seen masters and apprentices generate hundreds of drawings constantly perfecting their practice, sketching ideas as documentation or even archival purposes. The Drawing Box is a venture created with the sole purpose of breaking barriers as far as drawing is concerned and being able to bring globally diverse practices of drawing under one canopy for a particular duration of time. The Drawing Box was established by Diane Henshaw from the north of Ireland in 2012 along with Andrew Crane and John Crabtree from the UK and Rajendra Patil (PARA) of India.

(Sheetal Gattani at working in drawings box)

The Drawing Box acts as an open discussion group of specific artists in pursuit of contemporary drawing practices. The group discusses drawing practices of different artists to enable an interactive and mutually beneficial exchange of ideas and processes. For most people drawing is a meditative act. The act of taking a line for a walk across the planar dimensions of a canvas or paper seems daunting at first but when the hand touches the paper, the process seems like a journey, a pilgrimage one would take to get to the point of salvation. When one uses the word drawing, one understands the noun and verb meanings of the word. While one denotes an action of doing ‘drawing’ in a specific duration of time, implying movement in the present, the other is a stationary or static usage, as a completed ‘drawing’, a finished process which is proof of the act and doing of it. The group and its four founders gathered again in India for the second edition of The Drawing Box camp, which was held at the Kamath Resort in Nagothane, Mumbai-Goa Road, from 24th to 30th November 2013. The camp sponsored by ICAC (International Creative Art Center) saw the participation of over 65 artists from India and all over the world, and the number of works per artist varied from 3 to 5 paper works. The dimension was limited to A5 sized paper works and the medium of expression was entirely the artists’ call as per their requirement and practice. How an artist approaches the paper, A5 sized in this case, varies with the background of art education and practice the artist has employed regularly. Hence a painter, addresses the substrate / medium far differently than a print maker or a sculptor. The digital artist Satadru Sovan preferred to draw from the digital medium on to the paper, which made the work more precise and vibrant. Abstract painter Sheetal Ghattani created textural nuances within the geometrical drawings intended to give depth in a two dimensional medium.

(Artist Yashwant Deshmukh)

Artists Yashwant Deshmukh, Rajendra Patil, Chayan Roy bring down the expression into a minimalistic rendition of abstraction, while renowned figurative artists like Jai Zarotia, Vidyasagar Upadhyay, Deepak Shinde, Madhukar Munde displayed an array of intricate drawings, vibrant works inspired by various natural or existential stimuli. Printmaker Vishakha Apte’s work dwelt upon the unseen passing of time and its silent marks on inanimate objects. She abstracted these man made forms on to the paper in mellow and subdued fluid hues. Sanjeev Sonpimpare’s works appear to be life studies akin to doodles done spontaneously on back of postage stamps. The styles of drawing varied drastically from meticulously planned line drawings to minimalistic line drawings to drawing reminiscent of cave art and tribal art, to spontaneous doodles and water colours. While artist Satish Wavare created drawings with nuances of making marks on the paper with ink, lines, blots and curves, supported by the artist’s inner world representations, the work of Kshitish Das appeared playful and weaving a narrative with a subtle polemic about today’s environment and urbanization. Work of artist Purva Pandit was a mixed media on canvas using buttons. The Drawing Box, saw the participation of several international artists from Japan, Ireland Belfast and UK.

Please  view Full Content in Art and Deal Magazine- Delhi (Report courtesy Art and Deal - Delhi)

Saturday 1 March 2014

My Paintings gain life after their sale; else they lie dead in my studio- Tathi Premchand

6AM Drawings display at Flag March show- Art gate gallery-Mumbai 2013

My Paintings gain life after their sale; else they lie dead in my studio.

My paintings are not showpieces. You cannot decorate your drawing room to make it look beautiful, but you can decorate your mind with it to make your body beautiful.

Most of my time is spent in traveling by local trains in Mumbai. I prefer it to any other mode of traveling. It is the institute for me. Thousands of minds brush with each other every single moment. People have their own news, views, opinions, reactions, sometimes resulting in mass appeal. I can view the emotional and practical reaction of the fellow citizens by interacting with them and I think they are all creative minds and provide lot of essence to my creation. I see a person trading in vegetables or scraps has more perfect knowledge of economics and politics of the world. He doesn't need a degree or big fat books to update his knowledge; the everyday struggle is guide for him. That's something different which you find only in local trains. It also represents mini India with its clashes and unity projected from time to time. People converse and argue as if discussing the issue in the world conference.

6 AM Drawing recent work by Tathi Premchand 2013
Variation is but natural in my paintings. Just as Heraclitus had rightly said, ‘It is not possible to step twice in the same river.’ My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. Painting is not just passion for me; it is a part of my life. I paint when I get stimulated to do so. There are times when for days together I do not paint at all.

I gradually was introduced to Galileo, Heraclitus, Osho, Mirza Galib, Kabir, and Lao Tuz and their lives. Their philosophies have greater impact on my work and my self being. Pablo Picasso is great artist; I worked as a volunteer for one month in NGMA, Mumbai because of passion for Pablo Picasso, during his paintings exhibition, just to be close to his art work. Though his work has good impact on my life, but it does not influence my work. I cannot even follow foot step of my own work. I am going to be a part of 2008 BNHS Greenscape-2 Art Auction by Pheroza Godrej. I am also part of the group show by Harmony Art Foundation 2008 and many things more. Life is full of works!

The artist lives and works in Mumbai
  (write up first time published 2005 online)

Raw, real and absolutely overt. The mere sight of his work is like an experience of the real city that is Mumbai

His art reflects the inner soul of Mumbai. The city is his greatest inspiration, he says. And it is truly remarkable how artist Raj More captures the details of every element of both, crude and sophisticated Mumbai in his works. An interesting thing about his art is that anyone could relate to it. His work speaks the parlance of diversity. He builds connects with people from all walks of life and translates them on to the canvas.

His love affair with the city began after he moved to Mumbai a few years ago. He says he loves to explore the city  and this reflects in his work. ‘Every urban city in the world has a soul of its own and talks to you,that’s why I always express this as the language of my work, ‘Raj says
Artist: Raj More

Raj More live and  work in Mumbai. After his graduating from Sir J. J School of  Arts, Mumbai. He started working in the field of visual art.he have been doing only painting and dedicated his life solely to Visual Art. He  have exhibited his  work international in India, Korea and Europe.

He win  the National Academy Award for 54th National Exhibition of Art  organized by Lalit kala   Academy, New Delhi 2012 and also he is a winner of 2010 Asia Art Award & Excellence prize Present by EM Art Gallery, Seoul, Korea 2010.His work is displayed in all international Art fair, UAF Fair (India), Korean Art Fair ( Seoul,Korea), Bussan Art Fair (Korea) and Dubai art Fair ( Dubai).

His ’Dimensions in time & space ‘solo show curated by Mr. Ebrahim Alkazi at Art Heritage Gallery, New Delhi 2010.Renowned Curator & galleries Peter Nagy( Natur  Morte)  display his work on his curated  United Art Fair 2th edition in Delhi,2013.His work also present by Palette Art gallery ,New Delhi. International  Curator Michal Matej presents a solo show at Fine Art Gallery,Bratislava.Slovak Republic,EU-2010.The city of Mumbai has kept him alive with its fascinating sights & sounds in his work..

The award-winning artist talks about how he likes metaphorical depictions. His protagonist, the crow, represents the common man.The city and its many elements, mainly vehicles and animals, determine his work. He also talks about how the ‘’Bull’’in his works represents the power of the city, creating a vast gap between the rich and the poor. The animals in his works are not just seen as they are,but have a deep-rooted connection that goes beyond just the painted picture. They equate to humans with powerful emotions. ‘I belong to middle class family and my connection arises from there. The concept keeps me going with its fascinating sights and sounds’’, he adds.

His latest series quest is all about Mumbai beings the melting pot of dreams and the crow being symbolic of a commoner with high aspirations, establishing his identity in the never-ending chaos of Mumbai City

Report courtesy Nitalia Pagare( Good Home -Time of India) 2013-14