Art News: Wilderness Escapades by Krish Iyer

Reconnecting with the past

Bangalore based artist Krish Iyer presents his recent suite of paintings that reimagine sculptures of Khajuraho temples, which decades ago, had set him on a path of creative expression. Iyer revisited the site recently, which is located in a densely forested region, rich in natural flora and fauna. In the temple art and architecture with its iconographic symbolism and its philosophical and spiritual moorings, Iyer has found a way to reconnect with the past, and re-envision it in his art, in a contemporary context.

Painting by Krish Iyer

The large format paintings in ‘Wilderness Escapades’ reference these sculptures and the underlying premises, to create a spatial interplay of light, colour and texture to suggest the form, postures and gestures of the stone statues in a quasi-representational style. The artist’s interpretations are moored around the historicity of the temples, their geography - located as it is amidst forested land and wilderness, with their beauty and splendor remaining undiscovered for centuries. And, their subsequent desecration by invaders, all of which weave an intriguing narrative of mystery and mystique, of magnificence and ruin, of worldwide fame and remoteness. The art and architecture of the Khajuraho temples combined with their religious, cultural and historical significance form an intrinsic part of their allure. Numerous stories, philosophies and other intangibles lie beneath the surface of the stones, creating sagas of seduction, lure and enigma.

Krish’s canvases explore these histories, the abstracted notions of human potential, philosophies of living, corporeality of the flesh and temporality of life. The visual semantics are anchored in formal aesthetics, with defined line drawings marking the canvas, while the abstract expressionist approach at later stages lends critical layers of texture, and simultaneously recontextualizes historical content.

Painting by Krish Iyer

The tactile surface of the works emerges from heavy textures, layers of dripping paint, and several applications of thick acrylic paint using the impasto technique. The palette knife and other tools transform the canvas, to add depth and dimension, to strip off extraneity and to emphasize salient features of the physical form. Transcendence, man and nature (re)union, the cycle of life and rebirth, and joy of living are some of the key principles that are depicted at Khajuraho temples, and it is these that Krish seeks and attempts to portray in his works. The deliberate obliteration of details in the figures, and the structurally accurate forms that replicate their defiled state, are incandescent with the ironies of transience – both natural and as outcomes of anarchist interventions.

Despite the precision of line drawings that form the basis of the works, Iyer’s methodology is essentially non-mimetic. The gradual yet decidedly gestural transformation of the painting surface as a pictorial array of subconscious thoughts and patterns rescinds identifiable characteristics and accentuates the metaphorical import.

After a successful career in commercial art, Krish has returned to painting with this solo exhibition - to pursue subjects and themes that resonate with him. A chance encounter with the Khajuraho temples almost three decades ago, stayed with him through the years and a strange yearning drew him back to them recently. This series originated from the revisit, marked by an innate desire to reconnect with nature, and to allow subconscious thoughts and emotions to surface and transform on canvas. With this exhibition, Krish attempts to break the invisible shackles that have contained his creativity all these years and to realize his inner potential.

Nalini S Malaviya
Art Critic
March, 2023                                                                                                   

- Catalogue text

The exhibition 'Wilderness Escapades' continues from March 20-26 at Karnataka Chitrakala Parishath, Bangalore. For further details contact 9900094466. Visit Wilderness Escapades (krishiyer.in)

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Reminiscences by Bharathi S

Recollections: Traveling Through Time

Bangalore based artist Bharathi S. revisits her childhood through paintings that wistfully capture joie de vivre, of carefree days, gone by. The paintings in the new series, ‘Reminiscences’ evoke flashes of vivid memory, of youthful days and simpler times. The kaleidoscopic images depict a fervent memoire tinged with nostalgia and innocence, and of those past moments that were uncluttered and unencumbered from the urgency and stresses of urban life. The works are suggestive of the rich fragrance of imagination and the joy of untroubled days, where time was slower, and perhaps it even stood still, more so, in small towns and villages, where Bharathi grew up.

Her works are akin to photographic film negatives, albeit in color, where masses and forms coalesce and blur, in effortless motion. The colors, as patches of pigments, take shape from a distance, and dissolve once again on approaching closer. Most of the larger paintings have figures of children either playing or watching adults complete household chores – there is an inherent exuberance and dynamism with a heightened sense of motion that is evident. A safe, secluded world is quietly tangible.

An avid traveler, she has been fascinated by clouds – their patterns and how they shift form, disperse, and re-form at times to acquire newer shapes and outlines. Their temporal nature and their transitions, have impacted her perception, in her observations of life and events and their fleeting characteristics. This in turn has inspired the small format paintings, which rely on abstraction as a tool to convey the thematic subjects as they shift forms amidst the colors, and which reemphasize the subtleties of movement and transitions.

Nalini S Malaviya

Art Critic

- Excerpt from the catalogue essay

'Reminiscences' by Bharathi S. continues till Nov 27, at Karnataka Chitrakala Parishath, Bangalore

 

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'Ghan Phut' by Shraddha Rathi at Kalakriti Art Gallery

Nostalgia in Wood

Pieces of ancient carved wood have been transformed into art installations at the solo exhibition ‘Ghan Phut’ by Bangalore based artist Shraddha Rathi. These strike a nostalgic note at Kalakriti Art Gallery in Hyderabad. Celebrating revitalization and renewal, the art works are as much symbols and remnants of melancholy and heritage as an ode to the centuries old craft of exquisite wood carving.

Shraddha describes the artworks as ‘the contrasting confluence of modern day concrete blocks and a century old piece of carved wood which reveal the impermanence of life today and the strength of yester times’.

Born in 1974, Rathi studied performing arts and architecture. A practicing artist for more than fifteen years now, her initial paintings drew inspiration from her architecture and classical dance background. From hyperrealistic paintings of exquisite carvings and sculptures of ancient India she gravitated towards abstraction and installation art. She experimented with installations in wood and metal that combined paint and text to create a play with the display space as well. A series of functional wood pieces formed interactive art that could engage the viewer at another level. The gratitude bench with text related to gratitude engraved on it was the highlight of this show held a few years ago.

 

Recently, when Shraddha came across carved reclaimed wooden pieces that were more than a century old, her formal background in architecture and her desire to draw attention to the magnificence of these pieces, which are often discarded as architectural waste, inspired her to transform them into art installations. She worked with carved pieces that were originally parts of structural elements of havelis and wadas, to uncover and reveal the beauty of each cubic foot of wood. 

Through an elaborate process of reclamation and renewal, Shraddha has attempted to locate these visual markers of culture and history in a contemporary context. She feels each piece is unique and has a story to narrate from its rich and eloquent past.

As she says, “Ghan phut celebrates the unusual convergence of the past and the present, through stories that come alive with reconstruction and revitalization.”

The exhibition is online here at Kalakriti Art Gallery

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A Journey Into The Past

Nostalgia in Stone

Manjunath Wali’s recent series of paintings depicts landscapes around prominent heritage sites, primarily those located in and around Karnataka, capturing their essence. He brings alive these landscapes that have withstood the passage of time, imprinted with narratives from a distant past.

All works in this series have been rendered plein air, on site, in an effort to represent the ephemeral atmosphere, the changes in light and colour, and effects of light and shadow prevailing at the place. The vulnerability of the monuments and the locations are evident in the rendering; the onsite painting emphasizing the immediacy and transient nature of the event and locale.

The artist’s hometown Vijayapura, and Gadag, where he studied art, are important historical places with several specimens of Chalukya and other significant articulations in close proximity, which kindled Wali’s interest in history and architecture. Combined with his artistic sensibilities, these have formed a recurrent muse for him. Wali’s fascination with these locales has resulted in repeated visits to Hampi which have materialised in this body of work and form a large part of it.

‘Nostalgia in Stone’ captures the paradoxes associated with the sites - the fragility and notions of (im)permanence of the monuments constructed in stone, and the associations with culture and heritage as tangible artefacts. Wali adopts a naturalistic approach, with a focal point, and illusion of details in the foreground, allowing the backdrop to diffuse and recede into the distance.

The soft, sentimentalized atmosphere and the play of light form a sharp contrast to the stone monuments that heighten their frailty and vulnerability. The numerous surviving ruins of Badami, Hampi and neighbouring areas - the Agastya lake, Hemakuta hill, Virupaksha temple, the watch towers, Lotus Mahal and the famous Garuda Shrine are some of the historical landmarks depicted in the paintings.

The morning light, the glorious sunsets and the afternoon shadows frolic amidst the ruins to render an enchanted image, recapturing some of the lost grandeur of the place. The sparkling pools of reflection from the water bodies, dazzling temple gopurams in the sunlight, the view from the watch towers, the glorious Garuda Shrine in the form of a chariot in the Vittala Temple complex that appears to be monolithic, offer glimpses of a magical past.

Wali’s body of work, a visual artistic documentation, is a significant attempt to emphasize concerted efforts required for conservation and preservation of heritage*.

*Excerpt from the catalogue text by Nalini S Malaviya

‘Nostalgia in Stone’ is on at Reves Art Gallery, Bangalore till 12th Jan 2020

All images are courtesy the artist

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The Melancholy State of Happiness

Frames of Existence

Rekha Rao’s recent series of paintings ‘The Melancholy State of Happiness’ gravitates towards abstraction - fields of colour delineated by bold lines, discrete pigments and dense textures. Conceptually, her works are anchored around her response to her immediate environment, adopting an observational approach, yet an active witness to the rapidly changing times. In this body of works, her ecological concerns predominate and represent urban issues and challenges, such as those afflicting local water bodies and other prevailing calamitous outcomes. A minimal palette paints an evocative landscape that is at times subdued and subtle, and at other moments, bold and dramatic.

Red Rain

Rekha’s artistic journey has been unusual and perhaps even extraordinary, a result of an amalgamation of coincidence, destiny and circumstances. Born in 1947, during the year that India gained independence, she grew up in an artistic and politically charged environment that shaped her art practice to a large extent. In a newly formed nation, artists grappled with notions of identity and with reconciling the past with current global phenomena and trends. Politics, society, tradition and geography were key to charting discourses in the creative fields and influenced Rekha as well.

As a child, from the age of four, Rekha sketched and painted alongside her father, who went through each and every work of hers with immense pride. Hebbar believed that a formal art education would hamper her individuality and creative expression and encouraged her to study Indian History. He continued to mentor her through discussions, debates and regular practice. Reminiscing about her father, Rekha writes, he once said, inspiration from his children, especially Rekha - ‘whose view ceaselessly refreshed my own artistic perspective’.

Black Bat

Rekha’s first art exhibition was held at Jehangir Art Gallery in 1969. The foreword to this show was written by Karl Khandalawala, an eminent lawyer and authority on Indian Miniature Paintings, who had also been a mentor to Amrita Sher-Gil. Rekha was married the same year and then travelled to Los Angeles where she lived for two years. Khandalawala was in fact, instrumental in introducing her to the art world in Los Angeles. The experience of living in the United States enriched her understanding of global art, and writings related to feminism, gender and social inequity deepened her world view. This enabled her to revisit, review and reposition her beliefs, theories and principles related to ‘home’ and art.

Childhood memories have often been represented as a kaleidoscope of colours on the canvas, and she elaborates, “Colour has the power to embody and invoke light within each painting.” As a child her father often said that a painting is not a literal exercise where the viewer has to be supplied with a long explanation. “But it is the story of the artist, and whose vocabulary comprises the shapes, surface, texture and colour on the canvas.” Rekha remains a storyteller, weaving colours, textures and motifs into a layered narrative.

Drying Clothes

In 2003, she moved to Bangalore and has lived here since. She continues to work actively for issues close to her heart and runs a non-governmental organization Mali for underprivileged women. She is also a Trustee of the K K Hebbar Art Foundation, which supports deserving artists and art projects. 

Excerpted from the catalogue ‘The Melancholy State of Happiness’, recent works by Rekha Rao, written by Nalini S Malaviya.

The exhibition continues till August 4 at Saanchi Art Gallery, Bangalore International Centre, Domlur, Bangalore

All images courtesy the artist

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Traditional Mysore Paintings by Shobana Udayasankar

An exhibition of exquisite traditional Mysore paintings by Shobana Udayasankar previews today at Chitrakala Parishath

The symbolism-rich, intricate Mysore style is a traditional art form, which once graced the temples and palaces of the centuries-old Wodeyar empire. Bangalore based artist, Shobana Udayasankar is committed to keeping the tradition of Mysore art alive and works not only on recreating the most unique of traditional designs, but also aims to innovate through the use of cultural influences from Asia and Europe, experimenting even with abstracts.

Having started out as an amateur enthusiast, spurred by her interest in preserving the art form, her journey has been a long and rewarding one. Shobana is now set to showcase her collection of traditional Mysore paintings in Bengaluru for the first time ever. Sixty artworks, ranging in size from 8 x 10 inches to multiple pieces that are 4 x 6 feet, along with many intermediate sizes, will be part of the show. Mysore paintings are characterised by high level of detail and fine intricate work and Shobana’s works stand out for their extraordinary rendering.

The works are based on tales and events occurring in various scriptural and mythological texts, including the Puranas. The ‘Samudra Manthana’ or Churning of the Ocean – a metaphorical depiction of the creation of the manifested world that features over fifty individual figures – and ‘The Wedding of Girija (Parvathi) and Shiva’ and ‘Kama-Kameswari’ are examples of deeper philosophical ruminations on the structure of the cosmos that have been presented and preserved for generations as art.

Also featured are depictions of gods and goddesses, following the symbolisms and descriptions set out in ancient treatises, including the famed Samudrika-Lakshana – the science of anatomical proportions. ‘Devi Chamundeswari’ serves an example of a more traditional representation of the patron Goddess of the Wodeyar kings.

Shobana aims to inculcate interest in the art form beyond the small traditional circles and make more people aware of the art and develop an appreciation of it. Her own interest was sparked as she grew up hearing many mythological tales from my mother, and growing up, developed a strong interest in spirituality - particularly the deeper meanings in scripture and philosophy - which gave her an affinity for various representations of the divine. “This deepened my interest in more traditional art forms, of which I found that Mysore art was not only less well-known, but it was also a delicate and intricate form, the practice of which was almost a spiritual experience in itself - not unlike meditation. Once I had caught a glimpse of this depth, there was no turning back,” she explains.

Comprising many stages of painstaking and intricate work, including the preparation of the hardboard, the initial sketching, the ‘gesso’ work that provides a subtle embossing, to the pasting of the extremely fragile pure gold leaf and the final painting itself, pieces made following the authentic Mysore school of art take many months of diligent and dedicated effort. It can even take years to finish a large, intricate piece of work. Shobana elaborates, “My recent large-scale work "Lalitha Durbar" is about 4.5 feet by 5.5 feet, and it took me nearly two years to finish.”

Based on the premise that India’s rich mythological heritage has a wider audience, as evidenced from the spread and survival of popular themes such as the Ramayana in art forms native to other Asian countries, including Indonesia and Thailand, Shobana has attempted to stretch the boundaries of this art by presenting new compositions that remain true to the original techniques and methods of this art form alongside traditional representations. ‘Rama and Sita’ (Thai style) is one such example of the artist’s contemporary vision. It is her way to appeal to purists as well as those seeking a more dynamic approach to heritage and tradition, thus bridging the gap between the ancient and the modern.

Shobana’s expertise and proficiency in the field was recognized jointly by the All India Fine Arts and Crafts Society and the Karnataka Lalitakala Akademi and she was conferred the Millennium Artist Award in the year 2000.

The exhibition is on at Karnataka Chitrakala Parishath from 21 - 26 December 2018

Images: Courtesy Shobana Udayasankar

You can connect with the artist on FB, Twitter & Instagram
sponsored post (based on the press release and conversation with the artist)
Updated: Dec 21

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To contribute articles, please get in touch at nalini.indianart@gmail.com 

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Bangalore Launch: 'Intelligent Field' by Surendra Kumar Sagar

'Intelligent Field' 

a new book by Surendra Kumar Sagar

'Intelligent Field` is Surendra Kumar Sagar's second book on science and philosophy with a similar objective as his first book 'SIX WORDS'  which aims to establish a model of philosophy that can lead towards convergence of religion with science to end conflicts and wars.

Art News: Transitions by Shraddha Rathi

A Solo Exhibition of paintings 'Transitions' by Shraddha Rathi from 

15th to 18th November 14 at The Taj West End, Bangalore

Trained as a Bharatnatyam dancer and educated as an architect, Shraddha Rathi explores an entirely new medium of expression through painting, coalescing key influences from both these creative fields. Through rhythmic forms, colours and textures Shraddha mesmerises with her thought provoking and inspiring paintings that combine Indian traditional values and modern experiences. 

"Every painting has a story to tell…. Painting to me is a language through which I express my thoughts. The three dimensions that I constantly build on, in my works are space, texture and expression. Time and my journey within, shape my thoughts which get reflected in my works. Developed over a period of time the current exhibition is a combination of three sets of works.

Shadows - My affinity to architecture resulted in the series of paintings called Shadows. I worked on themes that lend themselves to perspective and space. It is an attempt to capture the beautifully crafted and carved stonework in our historical past. I love the subject for its sheer contrast, the moment I add shadows the image starts coming alive to me. I have used visible brush strokes, unusual visual angles and light in its changing qualities in a monochromatic colour scheme.

A journey within - These set of works focus on my thoughts and ideas of Indian culture and teachings of Buddha. ‘What we think we become’, depicting Buddha in white, a colour that encompasses spirit of purity and evolution. The colourful images in this series, came forth as repetitive patterns, reflected themes from my subconscious mind, based on life and symbolic relationship between man and his thoughts. And how the ongoing process of thoughts designs our life.

Rhythm of colour - For an artist, the transition from narrative to abstract is a leap of faith…. Change is inevitable. From form to formless and monochrome to colourful. Yet another effort to convey myself, this time through basic design. I have used Line as an element in all its variations. Free flowing forms that overlap and merge into each other in many intricate sections. These works have an essence of movement in them. They refer to urbanscapes, rhythmic patterns, or may be, threads on a grid to be woven into fabric ……and allow the viewer to explore the works from a very personal perspective." Shraddha Rathi.

The exhibition is on view from 15th-18th November at The Taj West End, Bangalore

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Studio Visit: Milind Nayak

Studio visits offer fresh insights into the process of art making.

This week’s post is an informal update on my visit to artist Milind Nayak’s studio. Milind, who is recovering remarkably well from a recent health scare, is back at his easel and doing what he does best - paint these amazing landscapes! Right now, he’s working on a new series, where he explores the ‘ripple’ effect, both literally and metaphorically. But, more on that some other time. Some of the large canvasses are truly spectacular and I look forward to seeing them on gallery walls soon.

We talked about various things as we looked at his early works – some from the 1970s, when he was closely associated with the veteran artist GS Shenoy, who is no more. It’s always fascinating to revisit old works and see the kind of influences that existed at the time, and then to observe how the evolution occurs, and changes in form, colours and textures take place organically over the years.

Studio visits are always exciting and give greater awareness about an artist’s work, not only is one listening to the artist’s words and his/her interpretations, but one also gets insights into the process of art production.

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