A coming together of artistic culture & socio-economic milieu
Think of the adroit and the ascetic, the power of allusion and illusion, where modern art ideas originally forged in an Indian crucible often has the fit of a delicate glass slipper, instead of a commercially crass production of a host of images jammed onto the ungainly foot of an ugly woman. In that regard, ‘Dakshinayan’ is a coming together of artistic culture and socio-economic milieu.
Above are the observations of art critic Uma Nair, who in her catalogue essay sums up the essence of the new show at New Delhi based Gallerie Nvya. The gallery has unveiled a new artistic exploration of talent from the state of Andhra Pradesh.
32 artists and sculptors from the state have come together for presenting this exciting Dakshinayan!
Begin then with the master draughtsman K. Laxma Goud whose intaglio and brass plate give us not merely the cloud chambers of reality but even the continuous conundrum of the refractive indices of the female form in the zoom in of a single visage. The twin representation brings on a sense of the seductive hand of an artist’s who loves every limpid stroke of the contour no matter what the medium or tone.
Move onto Surya Prakash’s impressionist foray that projects the forest and nature at its best. But it's the celebrative brisk strokes at the left that startle. Notably, the tone of his depiction couldn't be more different from the Old Masters.
Laxman Aelay’s everyday images of abstracted domain in the art of the human form present the shuttling between solidity and solitary mood as his tonality sheathes and wisely positions the pursuits of isolation intent with it, turning most every imaginable expression into a startling silk purse of annotations in time.
The aesthetic refinement is downright extreme in the two collages of Sreekanth Kurva’s `Bulls’. Textile, cloth, zari, silk and the power of the Prussian blue all meld to give us a draughtsman’s precision of choice.
The topic assumes an unexpected tone of contoured characterization in the cohesive densely rich imagery of the couple in Thota Vaikuntham’s work.
V.Ramesh’s - long panel of undulating colour,with the shower of rose petals falling across the plane in `Assault I ’ is more like an ascetic slant that also drips through a primordial ooze of sliding paint -- pigmented magma in the singular image that recalls the haunts of history in the sculptural entity that stands and watches the tide of times.
Chippa Sudhakar’s brilliant cohesion of saturated colours and differential divisions in a single space juxtaposes a charismatic cherry red automotive paint with big colourative images. K. Nandini Goud’s simple structured still life of a vase with flowers might have been the site for happily resurrecting an academic practice that stirs the recesses of memories in time.
Sajid-bin-Amar’s humans fused into the landscape of the abstracted graphics of textured terrain speak about the power of the fractional and the intended intensity of gesture. K.Ravi’s finely detailed stenciled black haired Girl with Flowers, makes you think of the contrasts of elusive sensation as well as the inchoate impulses of observation.
Guru Kavita Deuskar who participates with 8 students in this show gives us a stencil thin colour penciled work that brims on the power and poignancy of the portraits, sort of academic realism that forms the abacus of all art forms. Playing with the power of realism in a wide angled street scene is Fawad Tamkanat for whom each being on the street has a suite of emotions, deepening the artist’s enquiry into intensities, intuitions and a cache of stilled memories.
The inked tenor of M. Krishna Reddy engineers a different yet related collision, pushing hybrid imagery into a complexed narration of painting. With a suffused and lithe skill L.N.V.Srinivas’s `Sanctum’ gives us a mood of across the flight pattern of an up-from-the-ritual minimalist mendicant.
Seduction is a glassed and fractal assumption in Sisir Sahana’s personification of `Butterflyes Within’ a prominent leitmotif of flowers and butterflies in the glassed visage
K. Sukumar’s `Ganesha’ is a mythic rendition of the record of a thoroughly synthetic yet infinitely detailed Hindu pantheon that resonates with the imagery of the confluence of activity. In a hyper-stylized manner, B.Akshay Anand Singh paints `Pothraj’ sheltering exquisite and obsessively crafted, birds and beasts in the background to turn the artistic rendition into a new, ravening identity.
S.Bharat Yadav’s untitled works evince a technical mastery in painterly abstractions that read something like aesthetic zed cows, but the flourishes of watercolour and pen echo a genesis of sorts.
Abstracted configurations and confections lurk in the background of P. Gouri Shankar’s oil on canvas. Nirmala Biluka Prabhakar’s otherwise surreal and cheeky sculptural figures are suggestive of glittery, potentially passionate positions in the narrative symbolism of creating works that have more one predicament.
K. Narendranath’s flute player has a somber tonality, of subdued, moody momentousness - of geometric it is the humble locale of sun dipped sunset strains give it a less jazzy but more of a realist, decorative zest.
Anjani Reddy’s mosaic of textured terrain brings on a limpid note of the feminine, while Bairu Raghuram gives us the surreal edge with the blue rooster on the shoulder of a seductive woman lost in her own soliloquy.
K.Srinivasa Chari’s egg tempera and gouache on paper manages to transform the influence into something uniquely his own, though, largely through an unexpected manipulation of materials and images. What looks like a raised, linear drawing is in fact painted paper. The feel of sculpture, painting, drawing, relief and virtual imagery all tumble together into one marvelously polymorphic species.
The show continues till December 31, 2007 at
Gallerie Nvya
A-29 Friends Colony (East),
New Delhi -110065
Second section of the show ‘Sculpted visages’
