Saturday 12 March 2022

An Exhibition of Paintings & Sculptures by Artists from Gujrat and Invited artists of Maharashtra in Jehangir

An Exhibition of Paintings & Sculptures


Artists from Gujrat and Invited artists of Maharashtra

Participating artists in the show are: -  Vrindavan Solanki, Gagji Manpara, Umesh Kyada, Milan Desai, Ajit Chaudhary, Natu Tandel, Navneet Rathod, Kailash Desai, Sajjad Kapasi, Ajit Bhanderi, Rajesh Muliya & Hardev Jethwa alongwith Guest artists – Ravi Paranjape Pune, Babubhai Mistry – Mumbai, Prakash Bal Joshi – Mumbai and Amrut Patel – New Delhi.  

Confluence of Creative Contemporaries –  समन्वय

    A group of 16 contemporary artists from Gujarat and Maharashtra will showcase their latest paintings and sculptures in Hirji Jehangir art gallery, M.G. Road, Kala Ghoda, Mumbai 400 001 from 14th to 20th March, 2022 between 11 am to 7 pm.  They have endeavoured to display their conceptual artworks in the form of paintings and sculptures in various mediums and techniques so as to highlight the confluence of the creative  skills and cultural as well as social vignettes of different regions of the country.  The show will be ceremoniously inaugurated on 14th March 2022 at the venue at the hands of Ms. Urmilaben Kanoria – Founder Chairperson, Kanoria Centre of arts, Ahmedabad, Mr. Vishwanath Sable – Dean Sir J.J. School of Arts Mumbai and Mr. Narendra Vichare, - Director, Shri. Vasantdada Patil College Mumbai in presence of many art lovers, collectors etc.   Various participating artists in the show are -  Vrindavan Solanki, Gagji Manpara, Umesh Kyada, Milan Desai, Ajit Chaudhary, Natu Tandel, Navneet Rathod, Kailash Desai, Sajjad Kapasi, Ajit Bhanderi, Rajesh Muliya & Hardev Jethwa alongwith Guest artists – Ravi Paranjape Pune, Babubhai Mistry – Mumbai, Prakash Bal Joshi – Mumbai and Amrut Patel – New Delhi. 

  Based on the Ethnic and Modern, created in Magicaly realistic to Abstract, conceptual to  purely formative paintings and sculptures are showcased by the participating artists through their artworks in different techniques and mediums.  The most prominent amongst them include the paintings are the ones with  the message of innocence, joy and enthusiasm as well as contentment and curiosity in human mind synonymous to a  child in him by Hardev Jethva, Umesh Kyada, realms of life in the works with message of environment preservation and of growing and saving of trees and treasures of nature in the works  Kailas Desai,Navneet Rathod, life journey and cycle of joy & happiness in the sculptures of Rajesh Muliya, Mystical expressions of Gagji Monpara in Sculptures, Poetic creations of Milan Desai, Magical, Lyrical and expressive lines depicting the ethnic life of Gujarat by world acclaimed artistVrindavan Solanki, Warli culture and its social vignettes in the works of Ajit Chaudhari, mysteries of simple forms and semi flat planes to highlight the life cycle and its cultural vignettes in the works of Babubhai  Mistry, Sajjad Kapasi and Ajitbhai Banderi , subdued hues of mysterious spiritual connection with rivers in the works of Prakash Bal Joshi, Cultural treasures & heritage in the works in absolute aesthetic realms of world acclaimed master Ravi Paranjape and many more


"Confluence of Creative Contemporaries"

Jehangir Art Gallery, 161-B, M.G. Road

Kala Ghoda, Mumbai 400 001, Timing: 11am to 7pm

Contact:9819139559 from 14th to 20th March, 2022 

Thursday 10 March 2022

Reflections of the Mindscape -Artist Giliyal Jayaram Bhat from Bangalore has been traversing through such sublime journeys in his art practice over the years and that is evidenced in his works on view

It has often been seen that artists who have found comfort and success in establishing their specific style of art are also the ones who gravitate towards an entirely different style over time. It could be called an artistic evolution. This could be a way to over-come the monotony of adhering to a single style stubbornly, an external trigger or an inner calling towards exploring unchartered art practices. Even if the economic suc-cess of an art style becomes the point of contention, art history is replete with exam-ples of artists abandoning their ‘saleable art style’ to answer a calling to seek a new direction in their art practices. Renaissance, Modernism, Post Modernism, Contempo-rary art etc were all responses of the artist communities all over the world attempting to break free from the shackles of monotonous tradition and convention, and trying to look at art and all its aspects with a new set of eyes and a fresh mind. There was a willing suspension of coveted success or economic pursuit even as some of the pa-trons willingly supported these aesthetic experiments for exploring new mediums, new styles, or new subject matters. This trend of breaking free from one’s own shackles is seen in every artist’s life as they gravitate towards a more sublime visual aesthetic than a symbolic one.

Artist: Giliyal Jayaram Bhat

In today’s art world, along with a range of subject matters, we also see the evident dynamism of new media practices, as the list of art ‘isms’ only grows longer with time. When an artist trained in the conventional tenets of art education, veers ever so slowly into a different style of painting, it is time to look closely and try to unravel the acute social, psychological and personal triggers of such an evolution.

Artist Giliyal Jayaram Bhat from Bangalore has been traversing through such sublime journeys in his art practice over the years and that is evidenced in his works on view.  The show titled , ‘Reflections of the Mindscape’ walks through the myriad hues of an artist’s inner realms, the troughs and the peaks of flow of creativity and the intrinsic need to commune with the viewer and their own inner core. 

There is a methodical approach in Bhat’s seemingly chaotic works and it is not merely plastering over the overpowering white of the canvas. The formations and composi-tions betray a childlike approach to a substrate with an aim to colour it. This apparent innocence is rare among artists practicing any oeuvre of art, simply because, a calcu-lated approach is often sought to document an art process, as it is definitive in achiev-ing a consistency of process and image formations. The development of a consistent style, while is a rewarding bird of paradise in an artist’s practice, it could also be a limiting factor in the process of the art creation, curtailing the experimentative verve which an artist should never compromise with. Imagine a traveller who sets out with a map to a destination, somewhere midway he discards the map and goes as nature leads him. Art processes are similar in this aspect, however not all artists discard that vital map, some follow it to the ’t. They do reach their destinations, but art history heralds those who made their own paths in the vast terrain of art. Art history has giv-en us artists like Leonardo Da Vinci, Pablo Picasso, Rene Magritte, to our own MF Husain and KCS Paniker to name a few, who had discarded maps and chosen a multi-disciplinary attitude of art making, contributing immensely to all art historical dis-courses.

Acrylic on canvas , 36x60 inches

A true artist chooses to defy every comfort zone in his art practice, by keeping his thoughts and his art works light and moving, at the same time, fully grounded in vis-ual aesthetic and precise skill. This could be seen as a dual existence for an artist; one, where the mind is always pushing the boundaries of their own imagination and two, never compromising on skill or understanding of mediums. Bhat has found that rare balance by oscillating between that which is deemed strictly figurative and that which is purely abstract, to be able to translate the most articulate of figurative thought into the lexicon of absolute abstraction. 

In his large scale canvases, one can find sweeping colours, usually shades of one or more primary colours, relegated to the background of the entire composition. In do-ing so he anchors the playing field in which the rest of the colours, marks, dabs, dots, cuts and strokes house themselves comfortably, sometimes, even precariously. It is Albert Einstein’s theory of Relativity which comes to mind when one views some of Bhat’s works, especially the concept of the fabric of time and space which acts as a layer upon which all other elements are present, exerting magnetic forces over each other. Another literary example would be how William Shakespeare described the world as a stage and all people, actors playing their role in it. 

Similarly, Bhat composes his canvases with enough freedom for the elements to inter-act within themselves in the pictorial plane, creating balances, imbalances, areas of breathing spaces, positive and negative spaces and sometimes, a burgeoning of possi-bilities. Some times, a burst of activity which holds the viewer hypnotised. 

E- Poster

Colour plays a major role in Bhat’s works. Unlike the painters of colour fields, or ge-ometrical abstractions, Bhat chooses to incorporate the essence of hues or even lack of them within the same composites. This application of paint, and then abruptly rub-bing off of it leaves windows of entries for the viewer to anchor their interpretations on. The work of art often gets an innate enhancement with such strategically or acci-dentally occurring ‘windows’, ’doors’. I would like to call them ‘portals’ as they ap-pear to open up into unchartered territories concealing alcoves of artistic intensity. In-dian abstraction was at some point believed to be merely derivative, following the trends of the Western abstraction, however, India has seen numerous abstractionists from the modern to the contemporary times of today. Having said that, to believe that there were very few abstractionists in our country till modernists opened the doors, would be a misjudgement. Indian art however canopied under figuration or land-scapes or portraiture; thought processes have always traversed through numerous ab-stract terrains, any number of examples in science, mathematics, poetry and literature could bear witness to this aspect. 

In literature, as in painting, the mood of the event is captured through metaphors and numerous symbolisms. It is this fabric called life that pervades through all of art as a whole. The ‘Baramasa’ paintings, while capturing the emotional sensuality of twelve months in a year with respect to meeting or separation from a beloved, also encom-pass an invisible aura within which these intimate expressions are contained. In ab-straction, this very aura pervades through the understanding of the mood which is portrayed. Artist Mark Rothko’s abstraction varies from artists Jackson Pollock’s or VS Gaitonde’s because it arises from a well spring of a mood and an existentialist backbone which is specific to the artist. In the case of Bhat’s works the abstraction arises from the fluidity of how his life has moved from being an industrialist, to a closet painter, to a professional artist who brings all these varied, almost mismatched fragments on to the canvas as a whole. The tapestry is multicoloured, even if some-times incompatible, yet one could see the intrinsic continuum in the works as it is di-rectly correlated to the lived experiences of the artist. 

The quarry of memories are culled, as are the emotional repositories which address and negotiate with the present, the future and the distant past, to slather the canvases in some of the works. Here there is intense brush work, palette knives slicing through enraged paint reliefs alternating with areas of soft and luminous tranquility, clouds pouring in hues bright and dull at times. These contrasts create the much sought after mood of the work. Binaries often govern his abstractions and from within each of these conflict zones arise a quiet visual balance. In certain works, Bhat delves into cubist styles where the box like forms, though incomplete, are reminiscent of fleeting images of a crowded metropolis, replete with high-rises grabbing air space wherever possible. 

Artist Giliyal Jayaram Bhat in his vivid and intense abstract art works, presents the transient mood of a creative human being in today’s world. A world which has its flaws with its every growing, self destructive populace, yet, in his works the world takes a breather and flourishes in the deep blue-greens of the ocean, the blues of the skies and the green-browns of the earth to restore hope in the viewer. A world which reflects his inner world landscapes in a language of the formless. 

Sushma Sabnis

March 2022a

The show  has been curated by Sushma Sabnis, Mumbai

The show is on view from Reflections of the Mindscape is a solo show of senior artist Giliyal Jayaram Bhat from Bangalore, being held at Nehru Centre AC Gallery, Mumbai.

From: 15th March to 21st March 2022

“Reflections of the Mindscape”

An Exhibition of Paintings by senior artist Giliyal Jayaram Bhat

Venue: Nehru Centre Art Gallery,

AC Gallery, Worli, Mumbai 400 018

Timing: 11am to 7pm

Contact No: +91 9845043323

Email Id:  

Saturday 5 March 2022

THE BEAUTIFUL BLACK INVISIBLE -This show will be inaugurated on 7th March 2022 at 5.30 pm by Mr. Nidhis Lotia, Director of Nitin Gems and Jewellery and Mr. Kumar Desai, Advocate High Court, Mumbai

Recent work of a talented contemporary artist Jaydeb Dolui will be showcased in a solo art exhibition in hall no.4 at Jahangir art gallery, M.G. Road, Kala Ghoda, Mumbai 400 001 from 7th to 13th March 2022. It will be there for public viewing daily from 11 am. To 7 pm. This series is in watercolour with wash technique and elaborates the thematic relevance of Black colour and its sanctity in this world via the paintings displayed with an artistic sense and creative instinct.

This show will be inaugurated on 7th March 2022 at 5.30 pm by Mr. Nidhis Lotia, Director of Nitin Gems and Jewellery and Mr. Kumar Desai, Advocate High Court, Mumbai     

Artist: Jaydeb Dolui 

Jaydeb Dolui hails from W. Bengal. He had his art education at Amragori art centre, Kolkata followed by an advanced art course at Birla Visual art 2000, Kolkata. He has so far displayed his thematic works at several art galleries and was a proud recipient of overwhelming public response and appreciation in numerous solo and group art shows. He is a recipient of many awards and appreciations from leading art promotional institutions all over the country the prominent amongst them being Bengal art Forum – Kala Ratna Gold award 2020, Nabankur Kala Bhavan – ‘Colour Wings’ Master Award 2020, West Bengal Vigyan Mandi Champion – 1998 and many more. His paintings are in proud collection of several reputed art collectors connoisseurs, patrons and art lovers in the present art world.

Chaitanya Mahaprabhu, watercolour on paper

The present series highlights the thematic relevance of Black colour and its omnipresence in the global scenario via the desired visual effects achieved in the work using mix media and wash techniques. The so called popular concept in the public mind about Black colour and superstitions associated with it like Darkness, Dishonesty, Unkindness, Cruelty etc. have also been associated with the virtuous source of positivity as has been elaborated by JoydebDolui. This is very significant and the paintings on Lord Ganesh, Lord Krishna, Shakuntala, Chaitanya Mahaprabhu, Noorjehan, Evening Sangeet, Buddha etc. bear testimony to this thematic peculiarity. It depicts true devotion and spirituality, culture, Indian Mythology, Philosophy etc.   Internal Black Concept has been specially highlighted by the artist in this exhibition elaborating the justification of omnipresence of eternal power and source of positive energy associated with the same in order to produce the desired visual effects.  Evening Sangeet illustrates the rhythm and melody associated with music that spreads joy and happiness in a peaceful environment after sunset i.e. in the darkness. Similarly, Gauttam Buddha always preaches peace, tranquillity and humanity as well as benevolence to masses. Black background highlights the sanctity and relevance of this message. So also is the thematic relevance of the work on Chaitanya Mahaprabhu and his message for peace and prosperity to masses. Painting on Noorjehan the symbol of eternal beauty and 25th wife of Emperor Jahangir in the Mughal Empire signifies the divineness and thematic peculiarity of the royal Mughal culture & the omnipresence of the historical heritage associated with it. Painting on Lord Ganesha highlights the divine and eternal message of peace and spirituality spread by the omnipresent waves of sanctity and thematic relevance in the surroundings. This conceptual illustration of the thematic peculiarity is the backbone of these works and certainly render the expected visual standard and glory to the works. These works being very eloquent and thematically relevant often lead to a dialogue with the viewers’ resulting into their warm response and appreciations. 

Press Release

From: 7th to 13th March 2022

“The Beautiful Black Invisible”

An Exhibition of Paintings

By Contemporary artist Jaydeb Dolui

VENUE:Jehangir Art Gallery

161-B, M.G. Road Kala Ghoda, Mumbai 400 001

Timing: 11am to 7pm

Contact: 99324 96167

Wednesday 2 March 2022

Her fascination for nature, stars, oceans, trees and other natural wonders are prominent in her art

 The Language of Colours

A contemporary visual artist from Pune, Puneeta Ranjan will showcase her latest works in oil and water colours on paper & canvas in a solo art exhibition at Gallery No.1, The Bombay Art Society, Opp. Rangsharada Hotel, K.C. Road, Bandra Reclamation, Bandra (W), Mumbai 400 050 from 4th to 10th March, 2022. It will be open for public viewing there daily between 11 am. to 7 pm. It is a collection of recent artworks made by her in the last couple of years mostly during the lockdown period.  The opening reception is on 4th March, 2022 at the venue  from 6 to 9 pm. in presence of many art lovers, collectors, patrons and all alike. 

Artist: Puneeta Ranjan

Puneeta Ranjan has a fascination for visual arts since childhood. Her first solo art show was held when she was studying in 9th Class in school. She had her education in Chartered Accountancy  but decided to follow her heart and pursued her career in visual arts instead. She has presented her works in many solo and group art exhibitions at major cities in India as well as London, Manila etc. A proud recipient of several appreciations and awards from the well recognised art institutions and museums, she actively conducts many art workshops, Online art classes, art camps , open studios etc.  She has been invited to judge various interschool state level art competitions in Maharashtra and also as a special guest at Radio One 91.1 fm on the occasion of World Art Day . She is also a well known street  artist of Pune and has contributed prominently in beautifying the city walls . Her works  have been widely acclaimed  and are found in collections of many prominent art collectors and army personnel. 

The present series depict her connect  with Nature and its wonders . Her fascination for nature, stars, oceans, trees and other natural wonders are prominent in her art . She works around the boundary between abstraction and figuration and her landscapes are direct impressions of Nature expressed in pure artistic forms, mostly intuitive expressions.  She expresses  her love for Nature by transforming the familiar into lyrical rhythms of play of colours in her style by creating works that are sometimes contemplative or are joyful, whimsical and peaceful . She is also inspired by connectivity, people and travels .  Music and poetry play a significant role in influencing her thoughts .Her art comes out as a visible voice that starkly questions how we think and who we are . Experimenting with different media and working fluidly in contrasting styles she tries to constantly reinvent  herself.  Her artworks  illustrate her artistic visual impression of the world in vivid forms in her alluring and amazing style which is  not only artistic but also eloquent and mesmerising.

Press Release From: 4th to 10th March 2022

“The Language of Colours”An Exhibition of Paintings

By Young contemporary artist Puneeta Ranjan


The Bombay Art Society,

Opp. Rangsharada Hotel,

K.C. Road, Bandra Reclamation,

Bandra (W), Mumbai 400 050

Timing: 11am to 7pm