Art - Deccan Herald - Internet Edition


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

Art

Varied gamut of styles

Ananya Drushya, a local=20 organisation promoting literature, music and art as well as = looking after=20 their creators, displayed a vast array of almost only paintings = the=20 proceeds of whose sale was to benefit the institution (Venkatappa = Art=20 Gallery, March 10 to 17).

Titled "Art and the City", it = comprised=20 of works by 70 Bangalore artists and was meant to broadly evoke = diverse=20 topics, sights and moods associated with contemporary urban life = here.=20

Without being a=20 curated show, it did to a degree achieve the aim, however mainly = because=20 several participants anyway deal with such issues in their = mainstream=20 preoccupations.

On the other hand a rather large number of = artists=20 represented there could hardly relate to the theme, unless one = stretched=20 it.

Thus, the whole came through more like a somewhat = random=20 review of mostly minor works from many idioms. The democratic = choices and=20 the sheer number of exhibits contributed to a certain = kaleidoscopic=20 vagueness so far as connectedness was concerned.

Among the = seniors=20 one could find S.G. Vasudev, Yusuf Arakkal, Vijay Bagodi and = Jayakumar G.=20

The most interesting part of the event came from some of = the=20 younger artists whose media and means are contemporary.

Of = the=20 former one appreciated B.V. Suresh, Surekha, Raghavendra Rao, Babu = Eshwar=20 Prasad, Ravikumar Kashi and Shanthamani M. Of the latter ones, = attention=20 was drawn to Tallur N.L., Sunoj, Srinivas Prasad, Sharat = Kalagatti,=20 Ranjani Shettar, Naniah, Gurusiddappa, Bilu Joze, Venugopal V.G. = and=20 Bhavani G.S.

Abstract basis

The five = post-graduate=20 students from the Department of Visual Arts, Bangalore University = who=20 exhibited recently at the Chitrakala Parishath (March 14 to 17), = appear to=20 be ambitious not only for having shown in public early in their = lives but=20 also in the number and often size of their works. If one = appreciates the=20 evident enthusiasm and energy, their assertiveness might be = slightly=20 premature. Whatever the stated subject matter - from confronting = oneself=20 against the rustic background to evoking complex urban atmosphere = and its=20 commercial imagery, the young painters' efforts still focus on the = pleasures of pigmentation, on conjuring layered textures, dynamic=20 interactions of motifs and paint fields, etc. These properties,=20 irrespective of their personal options theme-wise and formally, = all the=20 painters prove a penchant for abstraction which in most cases = comes=20 through with a significant dose of freedom besides quite solid = workmanship=20 skills. Whilst Anantha Padmanabha R. Shastry, Manjunath H. = Lakshman and=20 Manjunath H. strive to evolve their own formal languages from = within a=20 broader gamut of resources, the images of Santosh V. Andani and = Satish=20 Multhalli reveal a dependence on existing styles. In the latter it = brings=20 some mannerism to his realistic figures. In the former it reminds = the=20 viewer of Mumbai's mediatic realism and Ravikumar Kashi locally, = although=20 the wide gesture should be acknowledged.

Pleasing=20

The 13 members of the Barisha Shilpa Art Society from = Kolkata=20 who showed together at the Chitrakala Parishath (March 4 to 10), = belong to=20 the middle and younger generations and adhere to different = techniques and=20 styles, the common ground however being their pleasing formalism. = Whether=20 depicting quiet figural scenes, spiritual subjects and fantasies = or=20 engaging in social criticism, their images tend to fall into a = somewhat=20 predictable, nice compositions. A modernist basis mingles with = hesitant=20 and surface-bound attempts at including contemporary aesthetic = elements.=20 Evident in the paintings, this trait characterised also most of = the=20 sculptures, more interesting being those by Chandan Bhandari and = Sukanta=20 Karmakar.

Ethnic

The painting exhibition by = Dayanand Kamakar at Akshana (March 12 to 22) offers yet another = variant of=20 conventional indulgence in self-ethnicity. The canvases with very = Indian=20 ladies playing musical instruments or seated by the inevitable = earthen=20 pots or baskets carry the Hebbar-Bendre lineage to the point of = sleek=20 mannerism. The work may not be loud, but remains anachronistic and = easy=20 with its interplay of simplified outlines and softly textured = background=20 colours and patterns.

It in fact seems to be a formula = repeated=20 throughout over minor changes of props, poses and number of = figures.=20

Marta Jakimowicz

Complete Soul =

Ravi=20 Shah's charcoal sketches exhibited at the Time & Space Art = Gallery=20 till March 21 contains the same essence of life as his wooden = sculptures.=20 As the figures in these drawings are of people he knows, the = laid-back=20 approach in these abrupt sketches is reflected both in the models = pose and=20 in the charcoal strokes rendered by the artist.

None of = the=20 drawings illustrate any elaborate rhetoric or dramatization and do = not=20 seem as an outcome of many previous studies of the model. Rather, = the=20 works appear as an initial step in his pursuit to understand the = subjects=20 as models.

These works display phases of an artist at = work,=20 grappling to understand the subject, on a quest creating = preliminary=20 rounds of expressions executed through drawings; and also doing = them very=20 convincingly.

The models appear to pose, uninhibited = inside the=20 artists' studio allowing him to capture them naturally. =

The=20 sketches show no leanings towards erotic connotations, which is = often=20 associated with nude representations.

Consequently, it's = the=20 artists comfort with these nude forms, which keeps these = inclinations=20 buried.

In addition, the casual attitude of the figures is = reinforced by the careless rendering of details in these drawings. =

The skin or cloth is draped around a psyche. These = sketches are=20 very personal.

Each form tells an instance of relation = between the=20 artist and model, the relation of the artist with his art and = life.=20

The subtle innocence of the drawing leaves nothing hidden = and=20 revels in the awkwardness and sincerity of art.

Deep but = not=20 concealed, these sketches exhibit a spontaneity, a vulnerability = and an=20 expressiveness.

Nirali Lal=20

Comment = on this=20 article

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