Showing posts with label abstract art. Show all posts

11 Dec 2023

Art News: India Art Festival in Bangalore

India Art Festival Returns to Bengaluru with its Third Edition, Showcasing an Unprecedented Array of Artistic Talent

The highly anticipated India Art Festival (IAF) returns to Bengaluru for its third edition, from December 14 to 17 at the expansive Palace Ground, Kings Court. This year's edition promises an unparalleled showcase of artistic brilliance, with an unprecedented number of participants, making it the largest and most diverse gathering of artists and galleries to date.

India Art Festival, Bangalore, Image for Art Scene India

Gurudas Shenoy

Boasting an impressive scale and scope, the 3rd Bengaluru edition of IAF is set to captivate the city with cutting-edge contemporary art, presented by over 25 art galleries and featuring contributions from a staggering 400 artists hailing from 40 different cities across India. The festival is a testament to the thriving art scene in the country, offering a comprehensive exploration of various artistic expressions, including paintings, sculptures, photography, ceramics, and installations.

Opening on December 14, the event will serve as a melting pot of artistic diversity, providing insights into the latest trends in Indian and Asian diaspora art. Founded in 2011 by the publishers of the Indian Contemporary Art Journal, IAF stands as the only annual art fair held in three major metro cities – Mumbai, New Delhi, and Bengaluru – having successfully mounted 25 editions thus far.

With a staggering 3500 pieces of art on display at the Palace Ground, IAF caters to a wide audience, welcoming seasoned art collectors and new buyers alike. The eclectic selection includes oil paintings, acrylics, watercolours, original prints, installations, and drawings in myriad styles, covering landscapes, figurative works, abstracts, cityscapes, seascapes, urban and rural scenarios, portraits, nudes, religious art, traditional paintings, murals, Warli art, and much more.

Prabhu Joshi

Over the last thirteen years, India Art Festival has been a consistent platform for both
emerging talents and established artists, striving to provide an open atmosphere for contemporary art. In its 3rd edition in Bengaluru, the festival strikes a balance between appealing to seasoned art enthusiasts and actively engaging with a younger generation of tech-savvy art buyers, resulting in a diverse and eclectic selection of art.

This year, the festival is proud to feature the imaginative contributions of young talents, injecting refreshing perspectives and radical visual art voices. The Kings Court at the Palace Ground will host 80 booths, showcasing a total of 3500 pieces of art.

Participating art galleries include Akanksha Art Gallery, Charvi Art Gallery, Shiny Colours Art Gallery, H Art Gallery, SM Art Gallery, Sara Arakkal Gallerie (all Bengaluru), ArtDesh Foundation, Artvista, Beyond the Canvas, Bouquet of Art Gallery, Nitya Artists Center, Studio Pankaj Bawdekar, Studio Monica Ghule, Studio Om Thadkar, The Bombay Art Society (Mumbai), ArteHut, Aura Planet, Eminent Art Gallery, Gallery Pioneer, Pastel Tale OPS Art Gallery, Sudha Art Creations & Uchaan (Delhi-NCR), Gnani Arts (Singapore), Arpitam Kala Mandir (Kolkata), M Narayan Studio (Pune), Pichwaiwala - Narendra Arts & Handicrafts (Udaipur), among others.

Thota Vaikuntam

The festival also introduces the Artists’ Pavilion, featuring individual booths by independent artists designed to foster a dialogue between viewers and artists. This multi-level engagement encourages a direct connection between the art market and artists, facilitating open discussions and the purchase of artwork on an open platform. India Art Festival Director, Rajendra, emphasizes the festival's commitment to democratizing 'art viewing and buying,' a movement that has spread across Mumbai, New Delhi, and Bengaluru over the past thirteen years.

This year, the Artists’ Pavilion showcases both unknown talents and established names, with more than 300 independent artists presenting their expressions in the form of paintings and sculptures alongside 100 established artists exhibited by art galleries. The diverse range of subjects explored by these artists encompasses personal experiences to intense narratives.

The 3rd Bengaluru edition of India Art Festival promises not only visual delights but also auditory, visual and cinematic experiences. Eminent artists Ganapati Agnihotri, Kanthraj N, Chintamani G G, Ganesh Doddamani along with musicians Manjunath (Flute), Subramanya Hegde (Sitar), Karthik I S(Mandolin) accompanied by Maruti Prasad (Tabla) will transform the Palace Grounds into a cultural oasis, offering not only a visual feast but also a multitude of fusion shows, live musical performances, mesmerizing live painting demonstrations on 15 to 17 Dec from 3.30 to 5.00pm. A standout feature of the event is the enlightening film "The Eternal Canvas – 12,000 Years Journey through Indian Art," a cinematic exploration of India's rich artistic heritage spanning millennia. This cinematic journey provides a sweeping overview of the evolution of Indian art, from prehistoric times to contemporary expressions. It will be screened from 15 to 17 Dec, from 5.30 t0 7.00pm.

Durga Bai Vyam

The Artists Pavilion, with its fresh face and diverse talent, adds a new layer to the India Art Festival experience in the Garden City. With its mammoth collection of art under one roof, IAF serves as a one-stop mega art jamboree for art enthusiasts, providing a unique opportunity to enjoy art without the need to hop around various art spaces in the city.

India Art Festival will run from December 14 to 17, 2023, at Kings Court, Palace Ground, Gate No.5, Bellary Road, Near Mekhri Circle, Bengaluru, from 11 am to 8:00 pm on all days. The tickets for India Art Festival, priced at Rs.299, are available on BookMyShow.com and at the venue, ensuring a captivating cultural experience for art enthusiasts.

For further details, contact 9820737692

Don't miss the chance to immerse yourself in the vibrant world of contemporary art at this year's India Art Festival in the Garden City!

Excerpted from the press release

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15 Mar 2023

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.

Abstract painting 1 by Krish Iyer, Art Scene India

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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1 Dec 2022

Art News: India Art Festival in Bangalore

India Art Festival attracts over 30 galleries and 400 artists for its second edition in the city

The 2nd Edition of India Art Festival (IAF) in the city starting from December 08 – 11 at the Palace Ground, Kings Court, Gate No. 5, Bellary Road, has grown in scale and size this year, bringing cutting-edge contemporary art to the city, presented by over 30 Art Galleries and 400 artists, coming from 40 different cities across India, Singapore and USA.

Opening on December 08, the 2nd Bengaluru edition of IAF will bring all forms of artistic expressions in the art fair including painting, sculptures, photography, ceramics, installations, offering insights into current art trends in India and Asian diaspora.

Aditiraje Bhonsle

Founded in 2011 by the publishers of Indian Contemporary Art Journal, IAF is the only art fair held annually in three metro cities and which has mounted 22 editions so far at Mumbai, New Delhi and Bengaluru.

Whether, it is a seasoned art collector, or a new art buyer who want to acquire the first piece of art, the India Art Festival with 4000 pieces of art across 100 booths, on display at the Palace Ground is a perfect place to fall in love with art. At IAF, the art collectors are spoilt for choices to choose from many mediums and styles - oil paintings, acrylics, water colour, original prints, installations, drawings in myriad styles dealing with varied subjects including landscapes, figurative, abstracts, cityscapes, seascapes, urban and rural scenarios, portraits, nudes, semi-nudes, religious art, traditional paintings, murals, warli art and many more.

The master artists displayed by the galleries include Sakti Burman, Yusuf Arakkal, Lalu Prasad Shaw, S G Vasudev, Laxman Aelay, Gurudas Shenoy, Laxma Goud, Jatin Das, Jogen Chowdhury, Manu Parekh, N S Harsha, P Gnana, Seema Kohli and many others.

Yusuf Arakkal

The Artists’ Pavilion with individual booths by independent artists is so designed as to create a dialogue between the viewers and the art maker, and the artist. It also encourages dialogue between the art market and the artists directly. Here the sale and purchase of the artwork is on an open platform and the buyer or collector can approach an artist and the choices are numerous.

Vinita Dasgupta

This kind of freedom is rarely possible as both the artist and the buyers benefit from this arrangement. India Art Festival Director Rajendra says, "the process of democratizing ‘art viewing and buying’ initiated twelve years ago in Mumbai sort of became a movement; the growing interest in Indian contemporary art slowly made this movement spread to New Delhi and Bengaluru covering significant length and breaths of our country."

Apart from 200 established artists exhibited by art galleries, more than 200 independent artists are displaying in the ‘Artists’ pavilion’ at the art festival. The subjects broached by the artists vary from personal experiences to intense narratives.

Dhyana Das

'Tripurasundari’, a feminine mystique of the goddess by artist Dhyana Das and Kalyani Ravishankar’s ‘Radha-Krishna’, both blend the nuances of classical paintings and contextualize them within Indian religious sensibilities.

In another instance, artist Karthik Kamath, Sonali Surana and Tejaswi depicts embodiment of renunciation, Buddha, the enlightened one in his splendid aura with wavy hair curls & the monastic robe covering both shoulders and arranged in heavy classical folds.

Sunitha Krishna, Smita BP, Kalyani Sinha and Tripti Pandey indulge in an artistic imagery using religious images, cultural symbols and motifs that touches the spiritual chord of the viewers.

Artists Gaurav Dagar, Jyothi Prakash and Prakash Bal Joshi beguile the viewers with their abstract composition using pure forms & colours, whereas artist Muthukrishnan Ramalingam and Rajitha Bonthala chose the middle path of semi-abstract idiom to present their visual stories.

Wildlife, animal and bird paintings is one of the oldest art forms found since ancient times in the cave art. Animal and bird art have come a long way since then in technique and imagination and occupies major part of the contemporary art space in India. Artist Isha Valentine’s symbolic deer with antlers, Priyanka Sehgal’s Sunbird, big cats and elephant by artist Apurba Das, Shakila Ananth and Sudha Anandampillai displayed in the art festival is a fusion of art elements found in Bundi style of traditional art with contemporary times.

Akshata Shetty

The black and white paintings displayed in the art festival by Akshata Shetty, Beena Surana, Om Thadkar, Preeti Baliga, and Priyanka Maurya prove that the paintings need not have to be always done in striking colours to create visual splendour! Viewers are bound to be mesmerize by the unfolding visual drama of muted blacks, ash greys, dark flashes, starry whites with harsh shadows employed in the work of Om Tadkar in his galloping white stallion, whereas Priyanka Mauraya’s dreamy flowery land and symbolic portraits of all sorts by Akshata Shetty and Preeti Baliga creates powerful viewing; these paintings can go with entire range of minimalist modern décor & interior to create aesthetic ambience around living spaces.

Since ancient times to modern times, from fertility goddess to modern-day multitasker, artists have always enjoyed exploring the subject matter of women folk in art. But when the subject is explored by female artists herself, it assumes different significance like artist Geeta Yerra, Parul Sharma and Swati Burde who are exhibiting in the art festival.

P Gnana

The figurative works by Ravi Verma and Vanita Gupta along with Atul Todi and Jayaram Krishna’s figures emerging through geometric patterns on closer look is an added in attraction for viewers.

The notion of beautiful and sublime with sharp contrasts of light and shadow is exemplified in the landscapes by Poornima Deepak and Reema Ravindran whereas Deepshikha Bishoyi, Mridul Garg, Pooja Muthuraj, Shankari Kundu, T V Sairam and Vidhu Pillai prefers suggestive style of abstract landscape which focuses more on expressing emotion while still capturing the essence of a landscape. Seena Mani’s cityscape, Aditiraje Bhonsle, and Kasturi Dutta’s flowerscape are different genre in landscape painting in the art festival that would leave a lasting impression on the viewers.

Among several others noticeable works by master artists, the artists pavilion present a fresh face of India Art Festival at the Garden city. India Art Festival, with mammoth art collection of all sorts of art under one roof is a one stop mega art jamboree for art enthusiasts in this week to enjoy art without getting tired in hopping around art paces in city!

The participating art galleries include Akanksha Art Gallery, Charvi Art Gallery, Green Footprint

Laxman Aelay

Art Gallery, H Art Gallery, Karnataka Chitrakala Parishath, Sara Arakkal Gallerie (all Bengaluru), ArtDesh Foundation, Artvista, House of Emerge, Nitya Artists Center, Studio Pankaj Bawdekar, Studio Rustgrey, Studio3 Art Gallery, The Bombay Art Society, thecurators.art (Mumbai) , ArteHut, Eminent Art Gallery, Gallery Pioneer, Nifa Art Gallery, Gallery Vision Art (New Delhi), Pastel Tale & Uchaan (Gurgaon), Gnani Arts (Singapore), Kalabhawan (Agartala), M Narayan Studio (Pune), Pichwai by Beyond Square (Udaipur) and Subodh Fine Art Studio (California, USA) among others.

India Art Festival will be on from 08 to 11 Dec 2022 at Kings Court, Palace Ground, Gate No.5, Bellary Road, Near Mekhri Circle, Bengaluru from 11 am- 8.30pm on all days.

For further details contact: 9820737692

Excerpted from the press release

8 Dec 2021

Tattvamasi by Artist Mohan Shingne

Spurts of Enigma: Nikhil Purohit writes on the art practice of Mohan Shingne

An artist with formalist fervor operates both as an agent and a vessel for creation. Contemporary Indian art today is a mix-bag of several ideas from world art merged with indigenous aesthetic blends. It liberates an artist like Mohan Shingne to cross the roads with ideas of modernist abstraction and impulsive sculptural responses to a medley of found objects imparting meanings to resulting objects.

Untitled painting by Mohan Shingne, Art Scene India

A nuanced rendition through self-experienced perspective is the notion one ought to look for the works of Shingne rather than novelty. The artist has a dedicated hybrid practice. Firstly, of making sculptures with a conscious thematic of collaging shapes and found objects. Secondly, of paintings worked out as a process of self-exploration like an ardent devotee revealing the inner workings of a contemplative mind. He holds an intimate attachment to his role as an art educator besides following sculpting and painting as primary modes of expression.

With a humble upbringing in a family of goldsmiths, Mohan’s small and life size sculptures carry the craftsmanship and flair for detailing with a remarkable finesse. Poetry for him becomes a source for insinuating his feelings towards the inanimate world around that catches his attention. Words seem to be a storeroom to accumulate his notes for later visual conversions as idioms. It allows to gain a sense of Zen like feeling to learn how objects- mostly rustic, aged, and redundant become one with his psyche and finally at an immersive moment the object is released into a sculpture or flat surface. With a share of hardships in his early life the phase gifted him with a connect toward wordless conversations with things around. A link that has lent subtlety to his paintings and harmony to his 3D objects.

All this process hints at romance with formalism, yet Shingne finds gaps to escape rigidity in practice and breakthrough from monotony by experimenting with the found objects, clubbing them together. He happens to follow a formula of an uncanny juxtaposition where “Form + Form = Form, Form - Form=Form”. Perhaps the equation is an inert one where the principal element always stays. A philosophical take where the utilitarian thought in the object is discounted to abate a metaphor with mysticism.

Sculpture by Mohan Shingne, Art Scene India

The set of new achromatic works made during the nationwide COVID-19 pandemic lockdown period instills mixed feelings of emptiness, seclusion, loneliness, remorsefulness, silence, hope, and perseverance. The general theme of the series in dark shades with subtle textural notes has rectangular divisions annotated with few rhythmic curves breaking the grid formation. This releases the built-in tension formed after continuously watching the work. These works almost remind the ravishing paintings of veteran artist Jeram Patel, though the method of covering the space takes a different visual course. The underlying organic forms are nothing but triggers to melody.

One sculptural collage arouses satire and amuses us. The cylinder works were made by him before the onset of second wave where one could barely imagine how the situation could turn to be grave medically. Hailing from the goldsmith’s family these cans are part of his families’ occupational supplies. Mohan made use of these empty cans to revise their identity by introducing commonplace objects. The juxtaposition can only be admired by the viewer for the ease of mix-match where the two unrelated objects of a can and those of a buttermilk churner, a bowl, and an oil lamp respectively are bonded together. The experimenter within the artist allows spurts of delight and ecstasy.

Faithfully abiding by the tenets of formalism Mohan’s works continue to entice enigma.

Tattvamasi by Mohan Shingne, a Solo Show of Paintings and Sculpture continues till 10th December 2021 at Shridharani Art Gallery, New Delhi

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6 Feb 2020

Art News: Unframed by Priyanka Sinha

Deconstructing Frameworks In Search Of The Sublime

In her new series of paintings, Priyanka Sinha explores the unknown and the arbitrary, and the elusive and the sublime. Attempting to deconstruct and remove frameworks, her abstract paintings delve deep into the mind in search of that ephemeral time and space, which cannot be categorised but depicts purity of mind and soul.

“Among the practising artists today, Priyanka Sinha stands out for her conviction, consistency and
maturity. Being an abstract painter, the struggle for survival is becoming increasingly difficult in
India. Today, a large number of abstract artists are trying to make success by attaching different kinds of philosophical (sometimes, even spiritual) sounding explanation with their work of art as a means to hide their deficiencies in artistic skills. In such an intensely market-driven world of art, the mediocrity is often hailed for the reasons we all are aware of,” writes artist and critic Ashok Bhowmick in the catalogue.

Being a well-trained artist, Priyanka is an immensely active art practitioner. It is not an urge for experimentation alone that drives her to accept newer challenges, but it is with her courage to create, she often forays into the unexplored zones of her own self to bring out something that makes her existence, meaningful.

Priyanka's recent works show that rare grit for which she is known for. After a considerable gap in time, she is showing her works and although she prefers to contain her expressions in monochrome only, the bundles of carefully etched parallel white lines bring in a refreshing light. Priyanka scratches the thick layers of colour to expose subtle parallel 'spaces' of her canvases, thus creating self-illuminating lines.

Her palette is full of the colours of the nature. In some paintings, she takes the colours from the sea while in some she borrows it from the seasons. With such colours, she composes her abstracts, but for the viewers, they appear as simple landscapes, seascapes and at times, even cityscapes. In her paintings, nothing happens accidentally, as every bit of it is not only planned but deeply meditated.

The artist explains, “In my series named "Unframed" I have tried to present my sentiments in their sublime and pure form. The soul which has all power, and is the eternal core of our being and part of the creator. We look for materialistic happiness and want to be in our comfort zones. We want our life, relations, events, situations to manifest the way we desire. We want everything to happen in a particular manner, in well defined boundaries and frames.”

Unframed, an exhibition of Installations & Paintings by Priyanka Sinha will be on from 8-12th Feb at Fidelitus Gallery, Brigade Software Park, Banashankari 2nd Stage, Bangalore 560070
Mob: 080 680737001 E-mail: info@fidelitusgallery.com

All images are courtesy the artist

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4 Feb 2020

Interplay of Visual Contrasts

Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora

Painting by Vaman Pai

The ongoing exhibition of paintings by Vaman Pai and ceramics by Gomathi Suresh at Gallery Manora, explore abstract imagery through two diverse visual mediums. The show is curated by Giridhar Khasnis, who writes, “Involved in different mediums, they create works that are not fixed on any particular notion or theme but imagery that is free and open to interpretation. Silent yet evocative, their abstract constructs and formations are coloured with introspective tones and designs.”

Vaman is a Bangalore-based painter and sculptor, who is essentially self-taught. G S Shenoy, the late senior artist known for his abstracted landscapes had a large influence on his artistic vocabulary. Vaman has been painting landscapes for several years and in this series, his works display a natural fluidity and eloquence. There is an evident spontaneity in the rendering and an inclination to capture subtle atmospheric nuances. Inspired by nature, and the colour and vastness of the sky, he has employed a predominantly blue and white palette, experimenting adroitly with gentle patterns and textures.

Ceramic by Gomathi Suresh

Gomathi Suresh is a Sydney-based ceramist and art promoter, who has exhibited her works in several group shows and at the Ceramic Art School, Tafe Sydney where she completed her 2-year diploma in ceramic art. She is currently pursuing a 2-year advanced diploma in ceramic art.

In this series, which has been produced in response to Vaman’s paintings, her concern for environment, climate change and ecological sustainability form the underlying subtext. She explains, “My body of work for this exhibition is an immediate and gestural response to the painterly abstraction of Vaman Pai's works whilst maintaining the unique nature of my own making, use of surface treatment and three dimensionalities.” Her works often reference land forms and memories of landscapes from her travels around the world.

Gallery view of Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora

Adopting multiple techniques, ranging from the traditional to the more experimental, Gomathi has played with glazes and firing processes to achieve textures, patterns and compelling visual effects that emphasize colours and surface expanses. She says, “l have ﬁred my works several times to achieve painterly, layered atmospheric depths, closely akin to watercolor effects on textured paper; deliberately exposing the marks of my making, just as a painter would with his brush strokes, creating abstract surfaces evoking perhaps the warmth of a sunrise, the mystery of a dark starry night, the glow of sunsets and or an icy bare landscape.”

The commonalities and contrasts explored in the exhibition form an interesting interplay of visual coherence through pluralities of materials and mediums, and artistic viewpoints.

The exhibition continues till Feb 20, 2020 at Gallery Manora

Gallery Manora

55,100 Ft Road Off,9th A Main, Indiranagar-1st Stage, Bengaluru 560038, INDIA.
www.gallerymanora.com

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All images are courtesy the gallery

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11 Dec 2023

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15 Mar 2023

Reconnecting with the past

1 Dec 2022

India Art Festival attracts over 30 galleries and 400 artists for its second edition in the city

Also read,

8 Dec 2021

Spurts of Enigma: Nikhil Purohit writes on the art practice of Mohan Shingne

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6 Feb 2020

4 Feb 2020

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