Bridging time - Deccan Herald - Internet = Edition


	= Monday, August 29, 2005

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Deccan Herald = =C2=BB Arts= =20 Reviews =C2=BB Detailed Story

Bridging time

Nirali Lal=20

The = retrospective show of=20 G S Shenoy between August 21 to 27, at the Venkatappa Art = Gallery=20 acknowledged and revived memories that comprised of not only = the=20 growth of an artist, but also his vast contributions in = enhancing=20 the art scenario in Karnataka for more than three decades.=20

Looking at the paintings, one realises that the = paintings=20 not only disclose the era they were done in, but also = describes the=20 inclinations at the time. Likewise, in context to the space = during=20 and after the 1950s, works of art had a rebellious streak, = as=20 individual works preferably did not succumb to rule or = routine;=20 instead the trend-setter was the individual artist and his = choice.=20

Shenoy belongs to this decisive epoch in Indian = history,=20 when modernists or western thoughts had intervened Indian = minds, in=20 consequence creating fluctuating ideas, confused with = traditional=20 and modernists=E2=80=99 choices. The show brought to mind = this changing=20 milieu. Also, the glimpses of his paintings unveiled the = vast=20 dimensions and experiments undertaken by the artist in = producing and=20 revealing a monumental array of works along with the = different=20 experiences that went through it. Coming from Udupi, Shenoy=20 travelled to Mumbai and studied at the J J School of Art in = the=20 1960s. From then on, his contribution and commitment to = painting did=20 not go unnoticed; the process involved going through various = phases=20 in choice of subject and medium creating a persona that = linked the=20 under-exposed art of Udupi to the performing space in = Bangalore and=20 Mumbai.

The present=20 exhibits gave a glimpse of varied range of subjects and = medium=20 adopted by Shenoy down the years. These paintings have a = quickness=20 of strokes along with a softness of feeling. The show began = with few=20 life study sketches and then proceeded to include portraits = done in=20 oil, the form of Ganesha rendered in = =E2=80=98planes=E2=80=99, metal embossed murals=20 and an array of landscapes done in the wash technique and = abstract=20 works done using Fevicol for a slight relief.

Shenoy = painted=20 landscapes on the basis of his impressions using water = colours,=20 pastels and charcoals. In the use of paint, he did not = hesitate to=20 use any medium to get a required effect, thus in result the=20 paintings are a combination of textures and colours. The = forms=20 dwelled in flat rectangular planes. Whether in figurative or = abstract paintings, Shenoy=E2=80=99s love for planes is seen = in most of his=20 work. His =E2=80=98rock-cut=E2=80=99 paintings demonstrate = the galore of colours=20 contrastingly to the generally single-hued rocks, in process = exposing a festivity of colour over the rigidity of form. = The nature=20 paintings reveal an inborn accumulation of impressions = diagnosed in=20 different textures, gained through water colours, pastel, = charcoal=20 and oil. In portraiture, the broad impressionist strokes = reconcile=20 to an inevitability of influences of styles inherited or = imposed=20 upon the artist.

The show regards the contributions = made by=20 the artist for the enhancement of the art scenario in = Karnataka,=20 along with reciting the potentiality of art through its = visual=20 magnetism.

All in one

The analogous = display=20 of paintings of clothing of famous preachers in boxes with = glass=20 doors in the show titled Preaching Museum by artist = Suchender P;=20 (Aug 21 to Oct 3, Gallery Ske) raises certain concerns. =

The=20 paintings that are enclosed in boxes are attires of = well-known=20 figures made obvious through their signature posture and = clothing,=20 demonstrating the freedom sanctioned to and by art to create = light=20 trendy connotations of profound intense subjects. The ideas=20 initiated, practiced and promoted by the preachers over time = are=20 grappled by the onlooker while passing by each box in the = gallery.=20 The show encapsulates each preacher in a box, like in a = museum,=20 giving him an importance which the viewer is already well = aware of.=20

Based on the pre-conceived knowledge or the = imagination of=20 the viewer, it also probes the social capabilities of art as = the=20 preachers are from different religions, questioning the=20 =E2=80=98materialistic=E2=80=99 implications, in this case = literally of a single=20 rendering passing through various ideologies, space and era. = The=20 figures outlined by the clothing and posture, are all given = an=20 importance as the paintings displayed, are enclosed in = individual=20 boxes, appearing as reproductions of artifacts in museums = which=20 store such objects. The idea in all the paintings is = similar, only=20 the clothing differs. Suchinder creates shifts in = perspectives,=20 combining the obvious symbolism of clothes rendered very = skillfully=20 along with the museum connotations of boxes which house = them. Sai=20 Baba=E2=80=99s serene stance, Osho=E2=80=99s pose or Swami = Vivekananda=E2=80=99s stance=20 along with other forms relive great eras of thought. The = exhibits on=20 the whole are a light moment ironically dwelling in = significant,=20 deep philosophies and information.

Beautiful = people=20

The show Beautiful People (Aug 28 to Sept 10, = Right=20 Lines Art Gallery) displays ink sketches on canvas by Bishnu = Dhar=20 which are cute and meaningful. For Bishnu, beautiful people = are=20 animals. He understands that all the evils and calamities in = the=20 society such as pollution, excess population, greed etc. are = because=20 of human intervention. As a gesture, he sketches cheerful = forms of=20 animals to celebrate and respect these beings for existing = within=20 their own space. Intrigued by their innocence and=20 straightforwardness, he creates interesting parodies drawing = their=20 faces as he imagines them.

Bishnu Dhar, originally = from=20 Calcutta, stays in Mumbai; usually displays colourful oil = paintings=20 on canvas. The present show displays for the first time, his = ink=20 sketches done about two decades ago. Where the heads are = intricately=20 rendered with fine lines, the body is suggested by an abrupt = single=20 line discerning the outline of the animal form, connecting = to the=20 lower part of the animal which is again intricately rendered = in=20 result giving fullness to the form. The subtle gestures = rendered=20 demonstrate a gaiety or sobriety in the mild expressions. = The=20 singular lines that define the forms balance with the detail = rendering of the faces and the feet.

Bishnu sees a = naivete=20 in =E2=80=98Holy King=E2=80=99 =E2=80=94 a form of an = elephant, The Beamer Lemur or in Mausi=20 the cat. Creating playful personifications, these works = enter into=20 an animal world of delight and wonder. Enamoured by their=20 simplicity, Bishnu feels that humans should realise the = pureness=20 behind the ferocity or ignorance of animals and in turn = respect=20 them. The show highlights the notion that contemporary art = can=20 reclaim or suggest individual beliefs through different = approaches=20 and styles.

Comment=20 on this=20 = article

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