Last day at The Artists' Centre in Mumbai tomorrow!
The 15th edition of 'A Point and Line to Plane', presented by Gallery Beyond, concludes tomorrow - marking the end of an era
The Artists' Centre at Kala Ghoda in Mumbai was the 'adda' (hun) of the Progressive Artists Movement in India. With the closing down of that historic Centre following the tenants losing the case and that space, there will no longer be art exhibitions hosted there - so make the most of Gallery Beyond's show and visit it while you can.
Some of the artists whose works are on display are...
ANTONIO E COSTA
Of Indian origin, Antonio was brought up in Kenya, in Africa, and trained in Canada in Fine Arts, Urban Design and Environmental Studies, Having travelled all through his formative years, he has drawn inspiration to painting from different geographies and cultural situations. With art as his medium, he embarks on a spiritual experience; a particular form of seeing that illuminates found objects and landscapes with a personal light. His search for a deeper emotion became the prime motivation behind exploration of imagery, and resulted in his evolution as an artist
HUKUM LAL VERMA
Born in 1967, Hukum Lal Verma looked at life with a different angle. He listens to music, preferring lyrics to rhythm. And watches movies with a keen curiosity for the story not told….constantly searching for answers in endless books, lectures and spiritual study. There has to be more to this, is his common refrain. A self taught photographer, Hukum Lal Verma constantly honing his skills with a lot of reading and informal education in photography to increase his exposure to more moments, more photos and more creativity. He has recently started working with Video Art. A creative decision to add to photography; to add moving images with sound to complete a story that perhaps, may be left unfinished with a still picture. He is also the promoter of wonderwall.co.in, India's first website dedicated to fine art photography and has curated photography shows for galleries such as Mystic Strokes, Pune, Gallery Sanskriti, Kolkata, Mahua – The Art Gallery, Bangalore and Prakrit Art Gallery, Chennai.
Born in Delhi, in 1947, Mona Rai studied M.A. Psychology, Delhi University and attended art classes for a couple of years at Triveni Kala Sangam. Her looming, square works epitomize her artistic attitude. Textures fascinate Rai; dots, dashes, slashes, directional strokes and streaks create her particular style. Square canvases are seldom used in figurative or narrative art, since dramatic distortions are hard to accommodate. The same format, however, seems more feasible with regard to abstract art, where problems of proportion and perspective do not arise.
Rai depends basically on square sizes in small formats, sometimes going on to large rectangular canvases. “I need to feel the experience of actually hurling paint onto the canvas. I can see my work opening itself more and more”. What might appear as randomness gives way to a feel of stillness, tranquility, evoking deep meditativeness. She lives and works in Delhi.
Push & pull of compositional elements – every element exherts its own force on every other element. It is the relation between things that gives meaning to them. The creative meaning of two physical facts always creates the phenomenon of a third fact of a higher order.
[Degrees of Separation]
Where does one end and the other begin?
What is the nature of the space in-between?
Where is the self located, and what is its "interior geography" like?
Why does the eye seek the horizon?
Who is the observer and who is the observed?
What does a fleeting glance at something reveal?
Continuum is the microscopic and telescopic view of the self, the absent wall between the self and the other, a bridge between inconceivable distances, the sliver of the present that connects past and future. It is a cartography of paradoxes, a study of juxtapositions and a meditation on the self's reflection in the horizon mirror. It is the coming together of something and nothing, form and formlessness, dream and reality — creating a vision where the self and the vastness become one.
Born in 1972, he graduated from the Department of Fine Arts, Jamia Millia University (1992-1996) & Studio Art from the University of California, Berkeley (Extension) San Francisco, CA 1998 -2000. At California he conducted courses in Mixed Media painting and assisted in studio art for certificate level students (1999-2000)
Kaushik from Delhi takes the fragility of his stainless steel woven images to yet another level. He literally thinks out of the box and brings into his oeuvre materials he has not flirted with earlier. His installations redefine the white cube in terms of a single equation that he draws from the dichotomy of linearity-light syntax. The surface, the shadow and textures of all the objects he has used, in totality, first of all, ambiguously diminish the mass-volumetric-like material reality of the objects he produces. Even the resultant objects, thus produced, forms deviant, stimulated identities: they are not the sum total of the materials they are made up of, some are almost invisible but not invincible. Objects, in this show, evoke that which they are not made up of or for.
Puneet Kaushik disagrees to the agreement of the difference between the cultural objects and their ‘effects’ – be it that of aesthetics, politics or merely perceptual nuance. The common sense perception that there comes the object first, creates the cultured impact like a torch emitting light, further stays as object – in – itself, even after such a trace an impact gets over, like an emptied perfume bottle. Puneet’s works treat this premise as the area of contestation but not that of confrontation.
Puneet takes a unique way of engaging with space and material, unbound by conventional art practise or the preconceived language of academic expression. He has forged ahead to carve out his own artistic vocabulary and practise, which allows for emotionality and spontaneity and throbs with raw vitality. Whether he sculpts, draws, weaves or paints, it is the compulsion of what he wants to express that determines the material, medium or scale of his work. The medium becomes him and he becomes the medium. The transition from the two dimensional to multi dimensional is effortless and the separation cease to exist. He lives and works in New Delhi.
My work images are the image of some surface where I get connected to it from my surroundings. There is a human natural tendency to feel the nature or anything which creates curiosity and that curiosity gives inspiration to do my images through a process which is important to realize my existence and the language of my own.
"I think that society needs to respect, understand and appreciate art as a medium of expression, which contributes to its aesthetic growth. An artist helps society see the finer aspects of living.
Since an artist enriches society by her unique aesthetic contribution, she expects that society be prepared to provide her sufficient help to fulfill her creative urge. Society should not expect an artist to explain her works, as her language is visual. An artist has a peculiar language, her own perception and unique reaction to experiences in life. I expect society to respect an artist for her thinking, appreciate her for her expression as she is translating her perception in her own language. I expect society to be tolerant and sensitive to an artist’s novel expressions.
I also feel that society should promote art and help an artist display her work in homes and places of interest to enable people seek visual delight. Creation of artifacts has been the preoccupation from times immemorial and this should continue."
Shobha Broota, teacher at Triveni Kala Sangam in Delhi, and hailing from a family rich in artistic traditions, is one of India’s most well established contemporary artists. Her husband is the artist Rameshwar Broota and their daughter Pooja Iranna and her husband GR Iranna are artists as well.
In her long pursuit of a fulfilling expressive and artistic conception, Shobha Broota has passed through and experienced a lot of changes in her subject, media and style. She has painted various things, including portraits of men and women, more abstracted human forms, the forms of birds, animals and insects as well as the different elements of nature, namely earth, water, air and fire.
Art critic Keshav Malik says of her oeuvre and of her recent show ‘Music of the Spheres’ that, "Shobha’s works, in whatever medium, do not overtly claim any whiff of holiness. Not at all. Rather they are her effort to understand and work within the boundaries of an age-old convention, that have the basic harmony or purity of the underlying reality, as of inner reality.
The discipline, preparation, effort, contemplation, as the musical sense of the inner ear, that have gone into these works is palpable and one would not even dare to sum it up or even outline it. Still it must suffice to say that a lifetime of close attention lies behind each of the works shown, quite apart from the training in the fundamental skills of geometry, drawing and colour."