Category: Visual Art


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RAGHAVA KK 

Raghava KK is a self-taught artist, born in Bangalore, India in 1980. His work has spanned genres as widely disparate as painting, sculpture, installation, film, performance, and even his own wedding. He started his career in 1997, originally as a cartoonist with Indian national dailies, and over the next 10 years, would reinvent himself to use several different mediums. Raghava’s works have been auctioned by the Queens Museum and Christie’s NY (in an auction curated by the Indo American Arts Council). He has been extensively featured by the Indian and international media and supported and endorsed by numerous celebrities and significant figures in the international art scene. Recipient of grants such as one from the Robin Hood Foundation to create a permanent exhibition of his works in the Bronx, New York and another from the American India Foundation to premier his performance art piece Anthropomorphism in California, Raghava was most recently invited as a guest by the city of Nimes, France to exhibit his works at the Carre d’Art Musee d’Art Contemporain. He has lectured and taught at several art institutes, including the Ecole des Beaux-Arts (Nimes, France) and the New Hampshire Institute of Art (Manchester, NH, USA). HIS WORKS:

JAGANNATH PAUL Jagannath Paul has graduated from the Government College of Arts & Crafts, Kolkata. He has won many prestigious awards. He is known for his charcoals on paper or canvas. His works bring out the drama of black and white by introducing solid blocks of paint, which are restricted to reds, yellows and orange. The contrast sets the mood of the work, highlighting the character that he paints. His skillful rendering of the female form shows an innate understanding and mastery of the subject HIS WORKS:

VEER MUNSHI An artist like Veer Munshi is one of the few painters in India today who is able to transform his experiences as an exiled refugee into the language of painting. Munshi was born and brought up in the Kashmir valley, but was forced to move to Delhi in 1990 when it was no longer safe for him to stay there. For Munshi, viewing pleasure plays no role in his objective as an artist. His work is very personal and at most times disturbing. It is his reaction to a specific event – in this case, the ongoing political situation in his home, Kashmir – and he wants everyone who views his work to understand what is happening there. Rather than leaving viewers with a light hearted happy feeling, Munshi wants his works to cause reflection and spread awareness. He is a painter with a clearly defined course In Veer Munshi’s paintings we see a reflection of the anguish and fear he felt whilst living in his own home, a fear that plagued so many other Kashmiris as well. Munshi was forced to give up his home and heritage, and witness how men he once knew turned into vicious, killing animals – a theme often recurring in his large canvases. In Munshi’s paintings we also see the artist’s bitterness upon seeing a once beautiful valley ravaged by men intent on nothing but their own gain in the name of patriotism. This farce is reflected in Munshi’s ability to telescope images of pain and hatred over those of the Kashmir that was. Beautiful houseboats lie overturned and neglected in the Dal Lake and the flowers in the Shalimar Garden are trampled and dying. The artist also manages to manipulate the colour he uses to suit the message of his paintings. Reds, oranges and greens, otherwise warm and inviting, are given harsh and dark roles. His purples are potent and the shades of brown always cloak and muddy everything. HIS WORKS: SUJATA ACHREKAR Sensitive and full of color, Sujata Achrekar’s paintings are a reflection of her mind. She is able to convey the misery and the helplessness of humans trapped by circumstances, from which there is no escape. The unusual textual quality of her work is due to the skilful handling of colour and theme. These form a basis for her to portray the myriad moods and lives of the working class. Most of her creations are restricted to a single figure that occupies the centrestage. It is in her treatment of these that she gives individuality to the canvases. Sujata Achrekar blends figures and the abstract, and then proceeds to distort them to get her message across. Depicting the pain that is an inseparable part of human destiny, Achrekar’s works have a pervasive atmosphere of melancholy. Achrekar’s canvases are predominantly worked in oils, with a profusion of earthy tones. Raw sienna, ochre and burnt orange are thrown into relief, and white is used sporadically. However, she is not averse to more brilliant shades: blues, reds and yellows also find a place on her palette, but are laid on sparingly. Sujata Achrekar graduated from the Raheja School of Art, Mumbai, in 1992. She has had two solo shows of her works at the Jehangir Art Gallery, Mumbai, as well as several group shows. She currently teaches at the Sir J.J. School of Art, Mumbai. HER WORKS:

BIPUL ROY

Bipul Roy applies water colour in light transparent washes. The softness and translucence of the medium induces a kind of dreamy environment transforming the naturalistic ambience towards an impressionistic meditative lyricism. This is true particularly about his landscape paintings. He loves to paint landscapes since his early college days. Through imaginative application of chromatic wash and creating areas of highlight leaving white space of the paper he creates a kind of duality of the space and the void. This duality reflects the essence of his personality, his dream, his love for nature. His landscapes are mostly silent and contemplative, particularly the hilly landscapes of North Bengal. Apart from the landscapes of Dooars, Darjeeling and North Bengal in general in this show we also find his water colour landscapes of the city of Kolkata. Through working with these landscapes and cityscapes he tries to enter into the deeper reality of the country, its inner beauty and contradiction. His dreams for beauty and ideal states of being play an important role in this genre of painting. HIS WORKS:

1. Paresh Maity

Born in 1965
Paresh Maity has emerged as one of the most promising young painters of contemporary Indian art. He received his BFA degree from the Government College of Art and Craft, Calcutta and a MFA degree from the Delhi College of  Art. Though recognised as a water colourist the young painter is equally at ease with oil on canvas.

Paresh started out as a painter in the academic style, but over the years began to shift towards abstraction. Gradually the imagery and form became more and more abstract until the young painter with flourish of a brush laden with transparent colours began to create paintings of great evanescent beauty. He gradually moved from atmospheric scenery to representations of the human form. His more recent paintings are bold and graphic, with a strong color and unusual cropping. His works are in a number of collections, including the British Museum, and the national Gallery of Modern Art,  New Delhi. In early years he did many watercolors of different locations.

His painted for newly built Terminal 3 at Delhi Airpot. He has created the biggest painting of his life and probably the longest in India. It stretches up to over 850 feet and is surely one of the most monumental paintings in the world.

Paresh’s talent as a painter lies in his ability to internalise the Indian experience and express it in a style which is delightfully refreshing. For Paresh, life is a celebration. One could very well describe him as a ‘romantic’ painter who paints not only from his head but also from his heart.

"Shapes in Symphony" 2003, Oil on canvas, 120x120 cm

"Togetherness" 2006, Pen & ink on paper,14.8x10.2 cm

"Landscapes" 1987, Water Colour on Canvas, 55x73 cm

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2. Atul Dodiya

Born in 1959

Atul Dodiya was born in 1959 in Mumbai and received his diploma from the Sir J.J. School f Art in 1982. Apart from several solo shows in India he has exhibited at Gallery Apunto, Amsterdam in 1993. He has participated in ‘The Richness of the Spirit’ Kuwait and Rome in 1986-89, ‘India – Contemporary Art’ World Trade Center, Amsterdam 1989, ‘Exposition Collective’ Cite Intemationale Des Arts, Paris 1992. He has also exhibited at ‘Reflections and Images’ Vadehra Art Gallery, New Delhi and Mumbai, 1993 and ‘Trends and Images’ CIMA, Calcutta, 1993. He was given the Sanskriti Award, New Delhi in 1995.

Dodiya’s strongly realistic works are subtly nuanced to provide a reflective medium to middle class homes, family life and his own biography. Thin layers of painting deftly painted strokes, mirror suggestive situations. In his latest works he freely quotes his artistic peers like Hockney and Bhupen Khakhar to reflect on the act of painting itself.

Dodiya lives and works in Mumbai.

"Tree Lovers for J.J." 1995, " Oil, Acrylic & Marble dust on canvas", 72" x 48"

"Snail on the Shoulder" 1996, Oil, Acrylic & Wood on Canvas, 69" x 60"

"Dr. Patel's Clinic - Lamington Road" 1995, Oil, Acrylic & Marble dust on canvas, 69" x 96"

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3. Ganesh Haloi

Born in 1936

Ganesh Haloi was born in Jamalpur, Mymensingh, now in Bangladesh. He moved to Calcutta after the Partition in 1950. The trauma of the uprooting left its mark on his work as it did on some other painters of his generation. He graduated from the Government College of Art and Craft in Calcutta in 1956. The next year he joined the Archaeological Survey of India to make copies of the Ajanta murals. After seven years’ involvement in the work, Haloi returned to work in Calcutta. He taught at the Government College of Art and Craft since 1963 till his retirement. Since 1971, he has been a ‘member of the Society of Contemporary Artists.

‘The experience of Ajanta influenced Haloi profoundly. His work was marked by lyricism. Haloi worked in many mediums and initially painted figures in landscapes. The mood was inevitable poignant. Gradually, Haloi moved towards landscapes. A sense of nostalgia for a lost world pervaded these paintings. Event- ally, Haloi turned to abstract renderings of landscapes. Dots, dashes, lines became cryptic signs for trees, water, green fields. A refreshing interlude came when Haloi did some paintings after a tour of the ruins of Gour Pandua in north Bengal.

Haloi has done a number of commissioned mosaic murals. His stint at Ajanta led him to study Buddhism and do research on the technique of Ajanta murals. He published a research paper on the “Techniques of Ajanta Murals” in the journal of Art in Industry in 1964.

Haloi lives and works in Calcutta.

Untitled 1995, Gouache on paper, 31" x 27"

Untitled 1995, Gouache on paper, 49" x 30

Untitled 1995, Gouache on paper, 31" x 27"

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4. Ghulam Mohammad Sheikh

Born in 1937

Sheikh is an internationally renowned Painter, Writer and Art Critic. He was awarded the prestigious Padmashri award for his contribution to art in 1983.

His collection of surrealistic poems Athwa has won considerable critical acclaim. He has also written a prose series Gher Jatan and edited a special number of Kshitij.

Sheikh was born in the small town of Surendranagar, Gujarat. He decided to study painting at the Faculty of Fine Arts, Baroda (M.A. Fine, 1961) because it was considered to one of the most significant art schools of India. Subsequently he went to the Royal College of Art, London, (M.A. 1966). After returning he was offered a post of a teacher of art history and painting at Baroda. He taught there for about thirty years.

Ghulam Mohammed Sheikh as a painter draws inspiration from diverse sources – from Renaissance to Indian classical paintings, his interest in the traditional arts is of great significance in the development of his own painting and writing. During his stay at the Royal College of Art, London, he traveled widely in Europe, especially in Italy to see the work of the early Renaissance masters. The Sistine chapel and the works of European masters left an indelible impression on his mind. He internalized their style to create his own vocabulary of art.

Some of Sheikh’s paintings are enveloped in seeming mundaness but there is also an undercurrent of the erotic. His interest in several traditions of world art makes his paintings a tribute to the collective world art history. His paintings are never insular; he lets his paintings construct an identity of its own through the art tradition of the world. Which is why it’s so easy for the physical and the transcendental to meet in his work.

Sheikh is also considered to be one of the most significant thinkers of Modern Art and has lectured widely on same, around the world. His students feel that “he imparts a comprehensive and synthetic understanding of modern art”.

"Speaking Tree" Gold acrylic upon inkjet on 300 gsm waterford paper fixed on board, 96" x 96"

~ Between Memory and Music "Passages" Series~ 1991, Oil on canvas, 42" x 84"

"Untitled"

"Visatation" 1992-96, Oil on canvas, 60" x 120"

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5. Anish Kapoor (a sculptor)

Born in 1954


Kapoor was born in Bombay in India and moved to Britain in 1972. There he studied art first in Hornsey and later in Chelsea. He has lived in Bristol since then, though frequently makes trips back to India, and has acknowledged that his work is inspired by both western and eastern culture.

In the early 1980s, Kapoor emerged as one of a number of British sculptors working in a new style and gaining some international recognition with their work (the others included Tony Cragg, Richard Deacon, Anthony Gormley, Bill Woodrow and Richard Wentworth).

Kapoor’s pieces are often simple, curved forms, usually monochrome, and frequently brightly coloured. Powdered pigments sometimes cover the works and sometimes lie on the floor around the works as well. This practice is inspired by the mounds of brightly coloured pigments Kapoor saw on his visits to India.

From the end of the 1990s, Kapoor produced a number of very large works, including Taratantara (1999), a 35 metre-tall piece installed in the Baltic Flour Mills in Gateshead before renovation began there, and Marsyas (2002), a large work of steel and polyvinyl chloride installed in the Turbine Hall of Tate Modern. In 2000, one of Kapoor’s works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London.

Kapoor represented Britain in the 1990 Venice Biennale, and the following year he won the Turner Prize.

He is well known for his use of rich pigment and imposing, yet popular works, such as the vast, fleshy and trumpet-like Marsyas, which filled the Tate’s Turbine Hall as part of the Unilever Series, the giant reflecting, pod like sculpture Cloud Gate in Chicago’s Millennium Park and his recent record breaking show at the Royal Academy, the most successful exhibition ever presented by a contemporary artist in London.

Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor insists that this body of work is neither pure sculpture nor pure architecture. Notable architectural projects include:

–  Ark Nova, an inflatable concert Hall that will travel around the earthquake struck regions of Ja[pan. In collaboration with architect Arata Isozaki

–  Orbit, the permanent artwork for the Olympic Park, in collaboration with engineer Cecil Balmond

–  Leonard Street,New York, Collaboration with architechts Herzog and de Meuron.

–  A proposal for the Princess Diana Memorial Fountain.

"Cloud Gate" 2004, Millennium Park, Chicago

"Hive" , The Royal Academy, London

"Turning the World Upside Down", Israel Museum

"Leviathan", Grand Palais, Paris

Anish Kapoor's joyful mid-career retrospective at the Royal Academy is like an inventory of the possibilities of sculpture

"The Tall Tree" exhibit at the Royal Academy, London

mirror-polished stainless-steel sculpture