Thursday 27 December 2018

Pisurwo Jitendra Suralkar is a character. A character that is defined by a stubborn triumph in art.

SOLO exhibition 
Jehangir art gallery 
1st jan to 7th Jan 2019
ANAMIKA अनामिका 

The name Anamika (female) comes from the Sanskrit word which means, "nameless." Sanskrit word which means, "person without name  ring finger (finger between middle finger and little finger) is called anamika in sanskrit." Sanskrit word which means, "a beautiful lady having no name.." Hindi word which means, "nameless or without description."
Also suggested is name an Indian word which means, "the ring finger." Hindi word which means, "ring finger." Sanskrit word which means, "The Powerful Ring Finger,The nameless finger. Many cultures  avoided the true name of a powerful entity, and called it indirectly or called it nameless.."

Pisurwo Jitendra Suralkar is a character.  A character that is defined by a stubborn triumph in art.  He incarnates practices not as inspiration or technical sycophancy but rather as ideological exercises in conversation with the artists Hussain & Picasso.  Art History and its tango with Indian contemporary artists suffers a bias of duality.  One that arises from its own lethargy to remain accessible from its occidental perch ,  serious attempts to include history of art from India began in the last decade of the 20th century and has being ongoing in the 21st century once India's promised the world the possibility of it being an economic power house.  Syllabuses at art schools in India have a disdain to catching up and thus artists disregard art history as an engagement not worthy of vocation fearing its inaccessibility.  Translations are extremely rare and thus many pedagogical exercises in state funded redundant.  Pisurwo does not come from the Sir JJ School of Art,  he studied on the plateau above the Ajanta Caves at the Khiroda College of Arts,  Gulzar Gawali , surrealist painter was his teacher.  Shifting to Bombay in the year 2000 as a painter he pursued his practice beginning with the pavement art gallery at Kala Ghoda to mystical meetings with MF Hussain.  A practice that is marked by his mastery of stroke and an intelligence with colour.  At the Gufa Gallery Pisurwo confronts the artist to whom he is compared but not the one he sees himself ape, rather he affirms an incarnation in attitude ,  ideology and stroke.  Pisurwo is a living legend and among the subaltern rebels to art history and the ways of its gathering.  

Sumesh Sharma 
Bombay,  2018 

Looking at Pisurwo’s work, the first thing we notice is the omnipresence of the human face. The more naturalistic works and the portraits, practiced by the artist since the beginning of his career until now - and probably forever - give us the entering point in his world. 

His way of engaging with the portrait, which could be wrongfully read as a classical attitude, is very much influenced by the years passed as a street portraitist, by all the constraints and the context of the job: the drawing has to be fast, the result must be resembling and satisfying for the subject/buyer. There is no study of the psychology of the character, no gaze through his mind and soul, just his blank appearance - just Pisurwo’s swift and secure lines. Nothing but pure drawing. And when this manner is freed by those constrains, it becomes the medium for the real content of his portraits and naturalistic sketches: his relationship with the characters. His wife, his children, his family, the professors that helped him, the painters that inspired him, everyone is there in a familiar and intimate universe held by Pisurwo’s care and will to honour them. His numerous sketchbooks are filled to the brim with drawings, faces, bodies, and always his signature, that he marks on the paper as a real creative act, along with the date and, strangely enough, the time at which the sketch was taken. This seemingly irrelevant detail demonstrates that for Pisurwo drawing is more then the simple registration of world around him, it is the immediate translation of that world, the almost instantaneous transcription of forms. Simply put, sketching has become one with the act of seeing, his own way of perceiving reality. 

In his studio near the Ajanta caves, portraits are not the only Pisurwo’s occupation. Next to this mystical site, Pisurwo seems to be visited be all sorts of images, or even, of spirits. Yakshinis and yakshas, kings and queens and mythological figures invade his canvases in a dreamlike state that echoes cubist aesthetics and M.F.Hussein work. An immense cosmogony unravels before us as we witness the spirits suffer, rejoice, engage in dialogue or in sexual acts; we see them merge and overcome duality. As an obsessively repeated facial pattern, they saturate the page or the canvas, leaving nothing except their presence for us to see. From the smallest drawing to the largest canvas, this horror vacui could come from his relation and incessant observation of the Ajanta cave paintings themselves, evolved and transformed through Pisurwo’s sensibility. This overflowing of signs, lines, marks and gestures is profoundly characteristic of his work. Plates, family photos, house walls, insignificant objects, leafs, stones and even a dead cockroach, nothing is spared, everything is a suitable support for his magmatic creativity: an all-over that could cover hills, mountains, us all and the entire world. 

A personal quest for meaning that, by engulfing everything around him, engages us in a journey beyond reality itself.

Painting as breathing,
drawing as living,
art as a way of being.

- Text by Niccolò Moscatelli (Paris France)

SOLO exhibition 
Jehangir art gallery 
1st jan to 7th Jan 2019
ANAMIKA अनामिका 

Wednesday 19 December 2018

The First Death Anniversary Pankaja JK

1972 + 2017

Pankaja JK
( Founder of Art & Art Writer)

Tathi Premchand

Tusher Jog (1966-2018)

Image source  fb: Chemould Prescott Road

Tushar Joag was born in Mumbai in 1966. He graduated in Sculpture from Sir J. J. School of Arts in 1988, which was followed by a Masters in Sculpture at the Faculty of Fine Arts, M. S. U Baroda(1988-1990), a Fellowship at the
Kanoria Centre for Arts, Ahmedabad, and an artist-residency at Rijksakademie in Amsterdam (1998-2000). Joag was one of the co-founders of the Bombay-based artist- collective, Open Circle that sought to engage with contemporary socio-political issues via integration of theory and practice. He has convened/curated international events, screenings and exhibitions
individually and in collaboration. He has also participated in many prominent national as well as international shows. Currently, he is founding
faculty and Associate Professor, Department of Art Design and Performing Arts, School of Humanities and Social Sciences, Shiv Nadar University.
He currently lives and works in Delhi.

text :

Thursday 13 December 2018


Shine Shivan will open 5 th solo show at Sakshi Art gallery for Mumbai Gallery Weekend 2019.

Monday 3 December 2018


With great pleasure, the National Gallery of Modern Art, Mumbai, Ministry of Culture, Government of India in collaboration with The Guild Art Gallery, cordially invites you to the inauguration of the exhibition  "The Earth's Heart, Torn Out' Navjot Altaf: A Life in Art". This Retrospective has been curated by Ms.Nancy Adajania. It will be jointly inaugurated by Shri Adwaita Charan Garanayak, Director General, National Gallery of Modern Art and Ms. Roshan Shahani, Art Critic on Tuesday11th December, 2018 at 5:30 PM.


Sunday 2 December 2018

Story from McLeod Ganj / GNOSIS - 2018 at Jehangir Art Gallery, Open at 11th Dec 2018

Does Buddhism and creativity have anything in common? May be, Yes. Buddhism is all about exploring self and attaining the power of mind over body, self realization and self- control. Creativity adopts or follows some methods of Buddhism, where in creator becomes meditative as he goes in creating and concentrating on exploring the depth of theme, thus, gaining a meditative hold over the physical appearance of the painting. Both, Buddhism and Creativity, cultivate our real and cryptic nature.

There is rise of ‘Consciousness’ in both. Meditation is not an easy process and when you sit to meditate you have more diversions of thought than ever before; there is not a single moment when you feel stable at soul. It is probing into unpredictable nature. Creativity follows same ebb of finding stability amongst chaos and move with the tranquil flow.

Artist Umakant has been working on the concepts and figures of the Buddha since last many years. Gnosis/ Bhikus is one further step in his creation of thought involving Buddha and Buddhism. . Here he directly paints the representatives of the Buddha- the Monks. Along with Dalai Lama, there are novice monks. We find that these novice monks’ expressions are not serene and meditative but seem to be at the infantile stage of becoming Monks, they have childish innocence on their face. They are allowed to explore their physical world and with the aid of Buddhist preaching they slowly develop self awareness.

Process of creativity is like these novice monks, a process of becoming self aware and breaking free from of influence from others. Without imposing grueling knowledge and letting them be of their age; this natural way of growing and side-by-side acquiring knowledge in a systematic way would turn them into serene and self-controlled Monks.

To show this initial stage of proceeding to be a true monks, Umakant has made use of colorful background and not as expected of Buddhism (and taken for granted) the association of the subtle shades. The innocence and radiance of novice monks is reverberated in these colors. These photographic style representations have characteristic colorful abstract backgrounds, devoid of figurative, mysterious mist.  

Lastly, not to ignore the painting of The Dalai Lama who displays courage and humility. Like him artist should also have both. Courage to discard all that which is troublesome and hurdle in finding inner vision. Humility, a spiritual nature to accept criticism without disquiet and gain highest level of spirituality.  

These paintings are unique in the sense that the images are well-known but they are metaphoric representation of real creativity and shows us that path to spiritual growth; be it by following Buddhism as by Buddhist monks or by being creative person. The path is difficult and main hurdle is mind and soul and development of self awareness. Self awareness by Monks or by artist, would surely lead to spiritual upliftment. The show is worth watching as imparting knowledge through visual means.

- by Pankaja JK 

(Note : This PRESS RELEASE for all Indian news paper and Media, leading PR Agency  and online social media, please share )

Sunday 11 November 2018


here is my take on tree-killing by zara. share widely for possible effect

Wednesday 7 November 2018

Behold the Honeycomb by Likla Lall

Behold the Honeycomb; Nature’s flawless design. Each hexagon is impeccable in itself, and at the same time, a part of something grander. Look closer and you will see that within each perfect cell there is a unique world buzzing with a life of its own.
Sudhir Patwardhan at Honeycomb group show Jehangir Art Gallery

Here you see Santosh Kalbande at work. He is holding a matchstick; to him this matchstick is the basis of all representation. He plants his matchstick in ply and out blossoms an artistic symbolism of the male and the female. Form and geometric shape are born from this artistic union in a repetition that inspires, in the viewer, a meditative state of mind.

And here sits another Nilesh Shilkar within his honeyed cell, equally obsessed with cells and mutation. Liberated by minimalism, he punctures the paper carefully with Braille-like pinpricks of three-dimensional form, in an exploration of the very evolution of the Universe.

Over here is Vinita Dasgupta, an artist who looks at life like pieces of a puzzle. Each colour, texture and shape takes hold of her imagination. Memory, feelings and impressions come together in careful folds and create layer after layer of untold stories. You may have seen and admired her works over the last six years at the Indian Art Fair in Delhi, but this year she promises something new.
Kumar Ranjan is a man that misses home. He now lives in a city that seems intent on suffocating him. Every now and then, he escapes into the clear blue skies and green jungles of his ancestors. The memory stays with him, and in bold strokes he captures them on jute canvas.

Now consider these two artists, Srabani Sarkar and a Tushar Potdar, each peering closely at the world around them. She watches the socio-economic currents that rush past her, and finds meaning in woodcut, printing powerful and undeniable images. He takes the everyday object and turns them into something extraordinary upon his canvas. And here are two that know the importance of blank spaces. 

Raj Bhandare from Goa

While Raj Bhandare transforms scrap metal into something spiritual in experiments that involve the wilful immersion of beautifully crafted four by four feet metal-works in the ocean for three months, Vishal Pawar proves dexterous with his use of charcoal; but both know the depth that lies between two lines.

And finally, here is Tathi Premchand, the man who brought them all together. His obsession with variation transcended his art and clambered into his role as Artist & curator. He looked at each cell and saw the soul within. He displays a special collection of thirty works created over a period of ten years created more than ten thousand drawings.

Here is Honeycomb, a glimpse into the ever changing retro-scope of the lives of nine artists. Enjoy the art works of Tathi Premchand, Raj Bhandare, Santosh Kalbande, Nilesh Shilkar, Vinita Dasgupta, Srabani Sarkar, Kumar Ranjan, Tushar Potdar and Vishal Pawar as they travel through the cities of Delhi, Mumbai, Kolkata, Goa, Ratnagiri and more.

by Likla Lall

Art Writer & Researcher 2018/Mumbai 


You are invited for the grand opening of HONYCOMB, A group show by 9 Artists at Jehangir Art Gallery,
Tathi Premchand I Raj Bhandare I Santosh Kalbande I Nilesh Shilkar I Vinita Dasgupta I
Srabani Sarkar I Kumar Ranjan I Tushar Potdar I Vishal Pawar
13th November 2018 : Exhibition open at 4pm on
Exhibition Date : 13th to 19th November 2018 Time: 11am to 7pm
Jehangir Art Gallery Auditorium Hall
161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001, India.

Saturday 3 November 2018


Satarupa bhattacharya

The Looking Glass emphasises on the human conditions of interaction between the self and the desired self - Satarupa Bhattacharya

The Looking Glass is strongly inspired by the famous Lewis Carroll’s Alice in Wonderland, and, so, the name reflects on the second book, Through the Looking Glass. 

Alice’s journey is a journey of self-reflection where she finds herself immersed in various aesthetic compositions. Every character is a reflection of her inner desires, where she is constantly engaging her audience with her self-awareness. 

The subconscious, conscious, and the projected self are intersecting factors in an individual at every moment of time and to be able to clearly visualise this for an audience is to bring the interaction with the self in the public. So to start with, The Looking Glass emphasises on the human conditions of interaction between the self and the desired self. Here, the notion of human condition is grounded on history, politics, and society as we have witnessed them in our collective journey. Therefore, Varnita Sethi, Mahhima Bhayanna, and Mahmood Ahmad help recreate this essential dialogue with their viewers in this hope that their viewers would engage with the auto-narrative in an urban visual space.
(Mahmood Ahmad  l Mahhima Bhayanna l Varnita Sethi )

The show is being held at a garage space in a residential area in New Delhi with the purpose of looking at the deep recesses of architecture that engulfs our tendencies to travel between time, space, and events. This is further enhanced in the works of Varnita Sethi, who puts herself on her canvas by projecting her desire to self-pleasurise. Sethis’s sexuality reminds us of Alice’s budding desires that she visualises in the Mad Hatter. The Mad Hatter’s inane interactions are emphatic of life and the several sexual self-dialogues convoluted in language and advices to Alice. Sethi’s works gives us a glimpse to her Mad Hatter through bold colours and strong strokes bringing out the woods of her buried desires. Her work comfortably interacts with a larger audience. 

Mahhima Bhayanna takes this self-dialogue to a realm of intricacies as she weaves her miniature and calligraphy techniques to that of the abstract form. Bhayanna’s works bring forth her desire to reflect collectively through her meditative space reminding us of the rabbit running late that led Alice to jump into a hole. This intense desire to collect all pieces of time and purpose is a conscious dialogue in our current moment. It is not of crisis, but of addressing that which we engage with everyday. Bhayanna’s works display her dialogues with her self and her desired self that intends to engage her audience in her delicate and gentle strokes that Alice’s rabbit embodies and, yet, does not. Mahmood Ahmad adds his virile dreams to our narrative’s purpose of directly engaging with our subconscious visual space. He surprises his meditation with his boldness in directly addressing his journey. His charcoal sketches remind us of Alice’s colourful dream in an alternative urban visualised context. In his works, his dreams are lucid and he wants his audience to visit his wonderland. 
All in all, The Looking Glass hopes to engage with all our Alice’s wonderland and, ergo, lends us a mirror to reflect upon. 

Satarupa bhattacharya

Art Writer- New Delhi

Wednesday 31 October 2018

A Secret Private Museum Initiated Jogen Chowdhury's Rare Works

Sharing an important news from the art world a SECRET MUSEUM initiated by artist JOGEN CHAUDHRY is on its way to open end of the year Priyasri Patodia is sitting in Jogen’s private 3 floor museum in Kolkata which will be showing his works from his days in Paris pre Paris post Paris and his rare works including academic   years his first water color his first cross hatch etc.

Priyasri Patodia of Priyasri Art Gallery will be Associated with this museum closely. This museum will open to public hopefully by end of this year. Why don’t others master  artist initiate private museums so the rare pieces of heritage is available to masses and not to selected few who have the pockets. Artist imitated museums are more common in developed countries and we are happy many private collectors are also following suit. Art can cannot be possessed by anyone people buy them pass them on to their heirs who may not treasure them.

The anonymous collectors don’t even ensure the destiny of the Art on other occasions immediate families of artists fight for possessions of these priceless pieces which lead to secret sales and the fate of the masterpiece is uncertain. Must say Jogen Chowdhury has had vision to make this museum with his rare works which be governed by a group of trustees ensuring that the works live for posterity. Kudos. 

Yogisha Motla
(on behalf of Priyasri Patodia)
P R I Y A S R I  A R T G A L L E R Y
42 Madhuli
4th Floor
Shiv Sagar Estate
Next to Poonam Chamber
Dr Annie Besant Road
Mumbai 400018
Tel/Fax 022 24947673
+91 9323582303,,

AQ@Priyasri-The Artist Studio
10th Floor, Ramakrishna Chambers,
Productivity Road, Alkapuri. Vadodara 390007. Tel 0265 2333587 ; 2320053

Through his career as an artist, Sanjay has inspired a deeper understanding of the world and its wildlife

Sanjay Prajapati, is a contemporary Indian artist, lives and works in Baroda.
Sanjay Prajapati is a painter known nationally for his large, dramatic portrayals of iconic wildlife. He grew up in a village which is surrounded by jungles and wildlife in its natural habitat.  His deep passion, knowledge of wildlife and unwavering commitment to conservation continues to inspire.
Artist : Sanjay Prajapati

Through his career as an artist, Sanjay has inspired a deeper understanding of the world and its wildlife, encouraging successful conservation efforts and awareness of endangered species and their habitats. Travelling across the India, for his love of photography he seeks inspiration for his art work, Sanjay has utilized these opportunities to research wildlife and to learn about associated conservation challenges at the local, regional, and national levels. Through his career, in artwork  Sanjay has developed effective ways to implement and support conservation programs and is utilizing his imagery skills to promote a message of wildlife preservation and to initiate real change. 

 Today, Sanjay’s work is admired and collected by prominent politicians, entertainers, business leaders and art collectors. His work can be found in private collections, corporate offices, Art Galleries, & Hotels in India. Sanjay’s works are displayed in important museums, corporate and private collections and has appeared in numerous prestigious venues.

About the Works

Cultural Background is a phrase broadly discussed by E.H. Gombrich. He stated that an artist's artistic expression is greatly influenced by his cultural background and the environment he grew up as a child. If one looks at the paintings of Sanjay Prajapati he can find true connotation of Gombrich's idea. As a child he grew up in a village which is surrounded by jungle and wildlife.  His childhood brought him a prospect of close observation of the animal world, which developed love

and sympathy for the wild animals in him. Later he travelled in different forests in India and also volunteered anti poaching activities. His art practice also depicts intimate understanding and relation of the flora and fauna.

Today he has migrated from the village to an urban life but his village reminiscence works as a source of inspiration in the subject of his paintings. Sanjay is keen to bring out the beauty of nature and wild life on his canvas. His paintings carry a sense of photo realism because he believes that beauty should be represented as it is observed in nature. He painted wild animals in their natural habitat and mood. Wild animals are ferocious but they follow a natural law. They fight only for the

need of something either for food or for control over territories. The uncivilized world is more beautiful, peaceful and enjoyable than to get scared of.

This exhibition named 'Exquisiteness of the Untamed' displays a body of work, which reflects sanjay's own understanding of nature and wildlife. The paintings depict untamed animals in their regular activities and natural behavior in their own terrain.  He has used strong, sharp and bold brushstrokes and bright natural colours to reach to his desired visuals.

Art Gate Gallery
Solo show 1st Nov to7th Nov 2018


Sunday 28 October 2018

PIN POSTER : 13th Jehangir Art Gallery

Jehangir Art Gallery is an art gallery in Mumbai. It was founded by Sir Cowasji Jehangir at the urging of K. K. Hebbar and Homi Bhabha. It was built in 1952. Managed by the Committee of Management, the entire cost of this mansion was donated by Cowasji Jehangir

Friday 26 October 2018

Rare Poem by Pankaja Jk 2010

आमच मात्र ....

सर्व धर्म सम भाव,
गरिबाला खायला वडा पाव 
आमच मात्र सर्व धर्म समभाव .

गरिबीची भीती आम्हा नाही 
आत्महत्य्ने जनतेचे तसे नुकसान नाही,

अहो, अश्या गोष्टींचा आमच्या गावी नाही ठाव,
आमच फक्त एकच ....सर्व धर्म समभाव ....

आतुर माता प्रवासी लेकाच्या चिंतेत,
शेतकऱ्याची काळी आई उगवी न शेत, 
पोट लागले पाठीशी म्हणून गेलो  परदेशी 
महागाई वाढली आता येऊ कसा परतुनी?
अशी ही तुटती घरे आणि व्याकूळ मने,

अरे, अश्या गोष्टींचं आम्हाला काय राव,
आमचं एकच उद्धिष्ट...सर्व धर्म ....

मारतात त्यांना मारू द्या
जगतात त्यांना लाडू द्या 
आमच्या इच्चा पुरती साठी 
लोकांच्या जीवनाची राख- रांगोळी होऊ द्या 

आम्ही नाही कोणास मारले
आमचे हात बघा नाही माखले
मग हा  दोष आम्ही कशा पाई घ्यावा, लेकहो,
आमचा आहे एकच द्य्ह्यास,
सर्व धर्म समभाव हो!

भारतात आहेत जाती हजार 
सर्वांनाच काही न काही त्रास
आम्ही त्यांना बघतो एकाच दृष्टीकोनातून
सगळयांनसाठीच आसवे आमची गेली सुकून, 
मतदानासाठी किती येतील ह्यात आम्ही चिंतातूर,

सर्वांनी यावं हा आपलाच देश, हे आपलंच गाव
इथे कोणी ना परकं, इथे सर्व समान,
कारण, इथे....सर्व धर्म समभाव...

पंकजा. JK

Friday 19 October 2018

PIN POSTER : 1st Nov 2018 Art Gate Gallery

Art Gate Gallery               
115, Jamshedji Tata Road, 1st Floor, Above Satyam Collection, Next to Eros Cinema, Churchgate, Mumbai, India 400020

Sunday 7 October 2018

Exhibition Date : 13th to 19th November 2018 Time: 11am to 7pm Jehangir Art Gallery Auditorium Hall


INVITATION:13th Nov-2018, 4pm.
You are invited for the grand opening of HONYCOMB, A group show by 9 Artists at Jehangir Art Gallery,
Tathi Premchand I Raj Bhandare I Santosh Kalbande I Nilesh Shilkar I Vinita Dasgupta I
Srabani Sarkar I Kumar Ranjan I Tushar Potdar I Vishal Pawar
13th November 2018 : Exhibition open at 4pm on
Exhibition Date : 13th to 19th November 2018 Time: 11am to 7pm
Jehangir Art Gallery Auditorium Hall
161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001, India.

Datura — Shahid Datawala's second solo exhibition at TARQ.

It is with great pleasure that I write to you about our next exhibition Datura — Shahid Datawala's second solo exhibition at TARQ.

This exhibition continues to highlight Datawala’s preoccupations with light, nature and the everyday. Featuring images taken over the last several months in Mumbai and Paris, this series looks at flowers and plants not only as objects, but almost as separate characters in a story.

Please find attached the invite and press release for the show. It would be wonderful to have you join us for the preview which will be at TARQ on Thursday, October 11, 6.30 pm onward.

In case you need further information including images, please do not hesitate to get in touch with me. Looking forward to hearing from you soon, and if you're in town, I hope to see you at the preview!

Warm Regards,     

Monday 9 April 2018

Jehangir Nicholson Gallery, CSMVS on the 19th of April, 2018.

We are delighted to invite you to the preview of Songs from the Blood of the Weary (Dialogues of Peace), at the Jehangir Nicholson Gallery, CSMVS on the 19th of April, 2018. The exhibition features the work of Rekha Rodwittiya, and was originally created as part of an exhibition to commemorate fifty years of the United Nations in 1995. This is the first time the ‘painted room’ will be displayed at the JNAF, after it was acquired by Mr. Nicholson just a year after it was presented in Geneva. It represents one of the earliest installations by an Indian artist and is accompanied by 12 works from roughly the same period drawn from the collection of the artist and Sakshi Gallery.

Do join us on the 19th of April at 6 pm at the Jehangir Nicholson Gallery. Rekha Rodwittiya will release the catalogue, specially prepared to accompany the exhibition. Tea will be served at 5.30 pm.