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:

Sunday 22 January 2023

My paintings too are most spontaneous expressions rather than well planned process so you will always find variety in the work.

My drawing books 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.

Artist: Tathi Premchand

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.

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; 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. 

Pankakja JK -2005

Publish first at


@nippongallery @tathipremchandstudio

Sincerely from 2005 + Drawing Books by Tathi Premchand

Preview Night: 31st Jan 2023, Time: 6 to 10pm 

31st Jan  to 28 th Feb 2023   

RSVP: Visitors by appointment only

"Please respond", to require confirmation of an invitation.


30/32, 2nd Floor, Deval Chambers,

Nanabhai Lane, Flora Fountain, Fort,

Mumbai – 400 001, India.

Saturday 21 January 2023

The Cosmos Flux


Sandesh Khule

The strength of Sandesh Khule’s paintings resides first and foremost in their self-containment. That insularity is in part a function of their proportions. They invoke the feeling of being bastion islands in the flux of fashion, knowing full well that their own consummate stylishness is one of the reasons they so successfully resist external pressures. Khule knows that the dynamic sturdiness of an image is wholly a product of the rigor of its internal armatures in tension with its outer boundaries. The spare pictorial structures strictly observe that rule, whether they consist of visibly locked in matrices or of frameworks whose joinery is incompletely articulated but palpably considered throughout. That is, grids in which sections may suddenly drop without viewers ever losing their bearings or the overall framework of the composition imploding into disjunctive fragments. Moreover, consistent with his otherwise divergent purpose he is just as muscular. And the capacity to absorb counter forces imbues every dexterous line he traces.  

He locates the sublime not in vast baroque volumes and polychrome plateaus but in zones that are close to hand, intimate zones where predominantly close valued hues are lit up by flashes of color as lightning bolts illuminate the desert at dusk or neon signage sparks in the rain along vacant thoroughfares at the urban margins of landscape. The woks thus serve as sensations one has had in the real world that are evoked Khule’s experience of made up, abstract world. For in the final analysis such correspondences and associations draw us to otherwise unfamiliar images and they continually discharge their poetic stimulus long after we have absorbed all that is fresh and distinctive about them.  

Khule does all this within the physical confines of his chosen formats, grasping that those voluntary physical constraints release rather than bottle up his gift for invention. His early works hewed towards severe minimalist strains of abstraction; however Khule is not an ism-obsessed artist at any level. Then came a phase of subdued but recognizably dazzle in which the oblique was pitted against the square off, and cool acid greens and blues were flickering juxtaposed to off key oranges and bright reds, pinks or to earth or flesh tones masquerading as tints of a more aggressive decorative or cosmetic order. In both bodies of work, pigment went down matte and flat. Lately there have been disturbances in that once uniformly inflected painterly field while gray, slate blue, moss green, deep pumpkin, maroon have become more common. In broad expanses brush marks have started to show, agitating everything in their vicinity or reinforcing our sense of the relative fixity of those elements in which brush strokes have been entirely subordinated like tides washing up on breakwaters, in a sense of aquatic metaphors. With these developments Khule reminds us that he issues from a long tradition of gesturalism and the die cut bars of pigment should be read in terms of how they thrust into and configure the comparative emptiness surrounding them, although some have monochrome backgrounds felt so solid or looked so much like criss-crossed foregrounds.

It is with respect to this ability to give subtle moves dramatic accents and to make little pictures register with the impact of large ones that Khule’s work bears an affinity of deceptive modesty. Such a conviction derives from something intrinsic in his work. That something, contrary to first impressions, is an immodest ambition specifically the drive to create uniquely memorable images, one that nevertheless recognizes the dangers of over statement and values the virtues of what may seem to be an understatement until viewers have had a chance to re-gauge absurdly dilated sensibilities and bring them back into the sharp focus required by thoroughly considered, completely realized painting of every scale. Right now doing the right thing favors compression and decisiveness over grandiosity and approximation, over the supersized and the generic but excessively finished. Khule has come down on the side of making things that could be no other size and no other way. Nor need they be to satisfy those who care to pay attention. The beauty, common to all of the paintings, is that the shifts, when located, are as much felt as they are measured. There is a precision here that does not exclude either intellect or sensual pleasure. Neither of these attributes is reduced because of the presence of the other; on the contrary, they combine to enhance each other. His paintings are promises made with full understanding of the stakes and are promises kept, one by one by one. 

- Abhijeet Gondkar 2023