| Register | Contact us
Gallery Beyond - The contemporary art gallery
contemporary art gallery

We have hosted a series of Art Exhibitions since our establishment that have brought to you the latest contemporary Indian Art. Please refer to the list of previous events listed below. To view the event online, please click on the title of the event. For any more information please contact our sales department.

Previous Events

  Title   Description   Dates

FREEDOM CALLS......Images Embossed on Steel with Verse
Art Bridging the Form and the Formless

George was attracted to art through photography and this medium marked his presence within the artistic arena

His limited edition photographs on Paper and Embossed Steel, are based on the Madras Central Jail, a colonial monument set up in 1837, later converted to house political prisoners and freedom fighters in transit to cellular jail or ‘Kalapani” in the Andaman and Nicobar islands.

These suites of photographs are not only evocative but equally poignant and emotionally touching.

The main protagonist, light, is a solemn actor not dramatized, but soulfully evoking moods and emotions.

The shadowed light provokes despondency whereas the bright streaming rays reflect hope and optimism.

The interstitial darkness here is not enigmatic but sinister, capturing moments of torment, anguish, despair and dejection. The duality of hope, and despondency is captured through the illusive light, which metaphorically defines life, contouring the highs and lows of existence in its ebbing flow.

Dr.Ashrafi S Bhagat

12 Apr - 5 June, 2018
Written on Water...A Group Show
Written on Water

Inspired from Keats epitaph….Here lays one whose name was writ on water.

This is an absolute definite!

We all long for certain positivity to be there in our lives, and we constantly work on it, just to set things in a pleasant state. It is in a constant flux, outside and inside. Let’s not deny that we all are living in times that are dark in hue. This instability and impermanence that we negotiate in everyday life has become a way to remind ourselves that this may be the only instance left for us to greet each other, and move further with our lives. When we do art, we speak about life, from history, and present times, foreseeing a future that isn’t certain. The recent past “was” about “finding truth” and stuff, and Universality as its properties .We now speaks of “local specific realities” along with a borderless world in mind, where we feel concerned for humanity and ecology, more than ever before. Earlier, the “individuality” had taken the center stage, now methods such as, collectivity and collaboration has emerged as a counter way to sustain and come strong. Our engagement with Socio-political issues, Caste and gender equality, historical past, and now the current unrest, seems to be culminating into a pile of unanswered questions. With all this as cerebral material, our engagement further continues in many forms and mediums of expressing ourselves in the presence of known and unknown vulnerabilities. “Free expression” becomes an axiom, only to be posed with threats, to control further and regulate….Sanjeev Sonpimpare, March 2018

8 Mar - 7 Apr'18
Silence, Please!....Solo Show of VIVEEK SHARMA
Silence, Please!

Viveek Sharma’s work occupies a space framed on the one hand by intensely painterly acts of looking, seeing and recording, and on the other by exploration into social realities and philosophies that constitute contemporary life.

Portraits of Sadhus find a central place in the current compilation, each face captured in a distinct moment of emotional introspection. The exploration of spirituality and its manifestation in animate and inanimate entities, spaces and places has been a recurring preoccupation with Sharma. A recent series of work was dedicated entirely to portraits of Sadhus – spiritual seekers who give up earthly comforts for an esoteric understanding of life’s purpose. They are anonymous and yet recognizable; they have individual features and yet represent their entire community. Their faces, lined with wrinkles and coated with sacred powders – saffron, vermillion, sandal, lime – crowned with straggling matted hair, reflect wisdom, experience and controlled sentiment. Indian religious tradition reveres these ascetics who seek to transcend the physical world and meditate on the wellbeing and balance of the universe. Followers of different sects pursue varied processes and rituals aimed towards a mystic release. Many are wanderers, journeying on an eternal pilgrimage and drawn always to ancient centres of sacred energy.

Lina Vincent Sunish, Art Historian.

21 DEC'17 – 20 Jan'18
Once Upon A Time In Mumbai.....Solo Show of RAJMAHAMAD PATHAN
Once Upon a Time, in Mumbai…..

Words evoke symbols/images and symbols/images evoke words; ever since the human beings invented scripts this has been the case. Condensation of ideas and concepts gives birth to speech and the need for registering speech becomes script, and interestingly once the script is established, the translation of it in human minds does not happen immediately as words but as symbols/images, from there perhaps once again they would take the shape of the words. That means, the symbols/images are intermediaries, entities floating in a nebulous space (a Trishanku Swarga/Trishanku’s Heaven) before going through the alchemy of word formations. Artist Rajmahamad Babamiya Pathan takes his viewers to that transitory heaven between symbols and words and makes them experience the zone of transformations; he deliberately takes the viewers to a nostalgic experience of going through the absurd yet morally loaded childhood stories that came in the form of illustrated literature. The constant shuttling through the words that appear in speech balloons as well as in captions and the images that condense the narrative helps the ‘child reader’ not only to understand the moral lessons but also to fine tune the zones of imagination.

What one loses in due course of growing up is also nothing but these fine tuned zones of imagination that link up words and symbols. It does not happen only because of coarsening the sensibilities due to life experiences but such blunting of imagination happens as a result of what I would like to call ‘image pollution’. Living in a world where each human being is assaulted with incessant image pulverisations where the ‘word-symbol’ correlatives are thwarted for deliberate surprising and teasing of human sensibility aiming at the generation of desire, the zones of imagination, carefully structured and fine tuned during childhood turn obsolete and when confronted with such image pollutions or image pulverisations could only run for cover, which would force one to an almost anti-socializing type or restructure the image-word correlative and attempt to inhabit in the spectacular and post-truth world/s. What Rajmahamad does by his works is a major resistance act through the creation of a pre-pollution world of imagination where the word and the image existed in complete harmony and provided vantage points for the flights of imaginations to take off and land.


9 NOV - 19 DEC,17
Urban Cartographers

The Six Cartographers, currently living in urban cities of Mumbai, Delhi and Kolkata, negotiate the multiplicity and constant transformation of cities in their own unique palettes.

Pankaj Kumar Chouhan, a migrant from Bihar, approaches the question of urban growth from an oblique angle with cellular forms that twist around each other, over lapping to create patterns and drawing the viewer’s gaze into an otherworldly landscape, capturing the sense of urban planning that seems clustered and shifting. The layered compositions reflect the confusion, constraining saturation and haphazardness that characterizes contemporary life by exploring city formations as evolving forms and structures.

Ashish Kushwaha, from Bilaspur, Chattisgarh, treats the surface layer of the ground as skin. His wastelands are populated by a cast of familiar elements: a goat, or bird perched on unfinished construction, an endless horizon and a variety of concrete constructs, columns and fences, completing the aura of despair. All speak of a sense of loss, loneliness of utter alienation, of being in the world yet cut off from it.

Pratik Ghaisas, from Mumbai, digs into his memories, nostalgia. In the inevitable passage of time of what was, he preserves things, immortalizing them so that they may be remembered before obsolence. He proposes new unexpected relationships and extended narrative possibilities – his connect of Cotton Candy to Wool of a shaggy Goat; kites – Manjha- Feathers - the sparseness of sparrows.

Kunal Batra, from Shimla, yearns to return from the concrete jungle of the city to a more natural habitat. In his case, his passionate engagement with the Himalayas. Mountains are perhaps like an addiction to an artist, the monumentality and the mystery, the visual harmony. Shaped by thousands of years of wind, rain, sun and snow, Urbanity has minimal presence here. Expressive lines contour the rugged terrain, mapping the topography and leading the eye through the scenery, detailing the softness of snow, the brilliance of sunlight, billowing clouds, wet pebbles rounded by the flowing waters, wandering pathways and picturesque local architecture.

Prashant Prabhu, from Mumbai, takes us to his idea of Urbania – the city of St.Petersburg, its pristine architectural heritage in near perfect balance with the burgeoning city.

Pappu Bardhan, from Kolkata, works on the fragility of nature - corroding, vibrating, silent: constantly in flux with intruding urban needs. His ability to build up his paintings through the shape and weight of lines & rhythms eloquently state his concerns.

14 Sept to 21 October, 2017
Retrospective of DATTA BANSODE (b.1969 - 2017)
ABOUT DATTA BANSODE (b.1969 - 2017)

A little boy of eight in a Municipal School in Latur, Maharashtra, quickly learns that skill is power of a sort: unlike his classmates he can draw well and his teacher often calls him to draw on the black board for the others to copy. Sharing the teacher’s platform for a few months, he feels special, different from the others.

For Datta, these were the first stirrings. He decided to develop this skill. His first teachers were the Buddhist monks, neighbours, settled as close to the Ajanta Ellora caves as means made possible, eking out there living through “Bhiksha” and making “Tankhas”, telling this intense eight year old, Puranic stories and stories of the Buddha, while all he watched was their hands. And that was the beginning. The first intangible fingers of a dream took shape. After matriculation, he decided he would become a drawing teacher. What else? His parents, already struggling, are waiting for their son to begin earning and contributing to the household. Become an Artist? He did not even know that there were people who paid for paintings. So, to the College of Art, Pune, for a drawing teacher’s course; a brave new world for the simple lad from Latur, whose finite horizons were school, cricket, swimming, drawing and painting to become a teacher which would enable him to continue what he could not help and take his place in his world. And from there to Sir JJ School of Arts, Mumbai, was the natural step. He stepped into the professional art world soon after graduating in 1992 with a group show at the Jehangir Art Gallery, the Mecca of all artist converging to Mumbai.

He has never looked back.

The line, which is Datta’s forte, does almost everything in his painting. It is the life breath of his paintings. His palette is black and white, rather harsh, yet pulsating with energy. The figures in the paintings, weightless in the frame, convey much of the tension, the heart and energy of the world in which they once moved or perhaps will move some day.

Datta’s single pre-occupation is with the human figure. It is his major obsession, which consumes him totally and directs his energies. These human statements are enormously expressive, vital, monumental of poetic intensity.

A turning point came in 1992, when he returned to Latur in the aftermath of the devastating earthquake that had rocked the district that year. Walking through the ravaged streets, amidst women mourning for their lost families, the bleakness of their figures stirred him, creating a change in his style. Abandoning bright colours, Datta began to work with a palette of chalk-white, beige and charcoal, creating somber, uncluttered compositions.

His Buddha series was painted as a response to the 1998 nuclear tests carried out by the Government of India. Bansode was struck by the irony of the project's code phrase ¬"Buddha's Smile" - used by the government to refer to the tests. "After all," he says, "Buddha's philosophy is one of peace, and anti-crime."

22 August to 8 Sept, 2017
Collectors’ Market
Absolute Summer Sale of over 200 affordable artworks of artists including Sakti Burman, Jogen Chowdhury, M.F.Husain, Laxman Shreshta, Laxma Goud, K.G.Subramanyum, Manjit Bawa amongst others

8 June – 11 Aug, 2017

Bharat Tripathi’s art is inspired by an engagement with enduring themes drawn from religious and philosophical traditions of the India subcontinent; The Navdurga series(2009), the Dashavatar series (2011), The Story of Shiva (2012, The Tirthankars series (2014). In his current solo exhibition, Bharat turns his attention to the Ramayana, which with the Mahabharata, is one of the India’s perennial epics.

While the Mahabharata is classified as an itihasa, a ‘history’, the Ramayana is regarded as a mahakavya, a ‘great poem’. Attributed to the sage Valmiki and later re-interpreted by Kamban and Tulsidas, among other writers, the Ramayana tells the story of Rama, the prince of Ayodhya, the seventh of Vishnu’s ten avators. It tells of his birth and youth, his marriage to the princess Sita, his fourteen year exile to the forest with Sita and his brother Lakshman, Sita’s abduction by the demon-king Ravana, Rama’s alliance with the Vanaras or monkey-people of Kishkinda, and of his campaign to subjugate Ravana’s island-kingdom of Lanka and rescue Sita. Rama and Sita’s return to Ayodhya cannot recapture the happiness of their early years. In a melancholy turn, the blameless Sita, under the shadow of Rama’s unfounded doubt, is banished to the forest, where their sons, Luv and Kush, are born. As Valmiki’s acolytes, they come to Ayodhya as boys. In an extraordinary literary move, the Ramayana tells us that they attend the sacrifice hosted by the king, their father and sing to him the story of his own life: the Ramayana itself.

Ranjit Hoskote

23 FEB-16 MARCH,2017
Melting Pot, Group show of 5 Women Artists
The exhibition at Gallery Beyond is the sixth edition of "Melting Pot "; an India to Europe exhibition tour of paintings by four women artists of different nationalities all working in India. The project is initiated by two artists working in Mumbai and Bangalore; a Serbian artist Katarina Rasic, and Barbara Ash from the U.K. In 2015 they had the idea to form a working artist collective, and use their "international links", by connecting artists and shows in India, where they currently work, with their home countries.

Gayatri Gamuz; a Spanish artist who is based in Thiruvannamalai, Tamil Nadu, and who has been living in India for 20+ years, and Pritam Bhatty; an artist from Mukteshwar, Uttarakhand, were invited to participate owing to the perceived links and commonalities in their work. In this edition they decided to include one more artist and expand the show, Priti Vadakath; a Kochi based artist. The body of work explores a range of issues, including female identity, national identity, cultural dynamics, ideas of "belonging", and the concept of "home".

“The ‘Melting pot’ conjures up an image of diverse elements poetically mingling and merging together, with bits and pieces of resistance preventing complete homogenisation of the mixture. The compilation of work symbolically carries forward the theme; individually, and jointly, the four artists’ paintings represent notions of absorbing, adopting and alternately rejecting cultural influences that have framed their respective life experiences. The exhibition marks similarities and differences in their perspectives, while highlighting the hybrid nature of their practices. The imagery is visibly transnational, tracing lineages, exploring roots, and morphing disparate histories through visual narrative.

Barbara Ash, Pritam Bhatty, Katarina Rasic and Gayatri Gamuz navigate physical and conceptual boundaries, attempting to embrace the past while building bridges into the contemporary.

12 Jan - 3 Feb2017
Canvas Re Strung, Solo Exhibition of Etienne Coutinho
Canvas ReStrung

Etienne Coutinho's training as an artist includes a foundational course at Sir JJ School of Fine Art, a four year course at the Sir JJ Institute of Applied Arts, Mumbai; a Bachelor of Arts degree from University of Mumbai.

A Post Graduate Diploma in Radio, Film and Television from Xavier Institute of Communications, Mumbai, resulted in employment as a commercial graphic designer, art director, film and theatre director, winning awards for advertising, audio visuals and documentaries. After a successful career in theatre and film, Etienne returns to his first love: painting.

For me, art is a creative impulse, a compulsion as real as the need for food and drink. I have always identified this innate drive with my spirituality, a force that compels me to celebrate God and my encounters with him. This perspective is the prism through which I view the world and all other relationships.

The present collection of paintings arose from the insight that the canvas was much more than a painted surface. By cutting, burning, and reshaping it became an active element in my work. An accident that shattered my left shoulder was an additional catalyst. The Orthopaedic surgeon strung my bones together with wire, the inspiration for the steel cables that link the pieces of canvas.

10 Nov - 6 Dec, 2016
The Global Nomadic Art Project, India 2015
The Global Nomadic Art Project, India – 2015 was organized by TREES (Training and Research in Environmental and Ecological Sciences in collaboration) with YATOO (Korean Nature Artist’s Association), directed by Artist- Somu Desai. There were 13 Indian Artists and 20 Artists from other countries who united to work together in Natural Environments.

Global Nomadic Art Project started as an idea by a group of artists from South Korea which has turned into a movement, travelling globally across continents to re-instigate man’s awareness, concern, learning, and responsibility towards our environment.

Our contemporary world is responding too fast to the growing needs of man supposedly causing an imbalance in various sectors of our society. This thought perception has resulted in extremism of two kinds; either it is taking us too far from Mother Nature or close to it. This project is aimed at bridging the gap by changing these very thought perceptions through various visual art practices. The ‘nomadic’ artists indulged in inter-cultural dialogue with not their own environment but the other environments as well. Artists interacted with group of students at various educational institutions and shared their expertise. While travelling 25 days from place to place artist produced work of art using naturally found materials and using their own body. They made art works from what they found relevant in nature and environment and leaving the work behind in nature, artist move to another destination and what they own is the documentation.

The interest is to leave traces of dialogue with nature by creating ephemeral artworks, the artists to listen and communicate with nature through their work. This exhibition mounted in Gallery Beyond is documentation of selected photographs and videos of artist works done on their travelling in Gujarat.

Project Director / Curator Somu Desai

20 Sept - 20 Oct, 2016
A Point & Line to Plane XII
A Point & Line to Plane XII

This is the XIIth edition of this curatorial effort that Gallery Beyond showcases every year in the monsoons. Alongwith a few well known icons of abstraction and some rising stars, the younger upcoming artists get to be viewed alongside this august company. The common thread that weaves these artists together is Abstract Expressionism.

Abstraction does not deal with objects or with effects or with images. It is a purely expressive art, one that excludes all the styles of the past and is a plastic art with only one purpose; to inspire human nature towards beauty.

“The creating force and the expressiveness of painting reside materially in the colour and texture of pigment, in the possibilities of form invention and organization, and in the flat plane on which these elements are brought to play.

The artist is concerned solely with linking these absolute qualities directly to his wit, imagination and experience, without the go-between of a ‘subject’. Working on a single plane as the instantaneously visualizing factor, he realizes his mind motives and physical sensations in a permanent and universal language of colour, texture and form organization. He covers the pure plane of expression that has so long been hidden by the glazing’s of nature imitation, anecdote, and the other popular subjects. Accordingly, the artist’s work is to be measured by the vitality, the invention, and the definiteness and conviction of purpose within its own medium” …..

Man Ray 1916. (The Forum Exhibition of Modern American Painters)

July 14 - 31 Aug, extended upto Sept 10, 2016
"The Art of Rajan Krishnan" (1967-2016)
The Art of Rajan M Krishnan (1967 – 2016)

I can say for sure that Rajan was instrumental in creating a Kochi art style, which is more environmentally concerned, poetic and nostalgic. The large-scale works that Rajan had started working on contained the images of the left over places where the industrial collapse had given a different hue of rusting and decaying. He was poetically expressing the degeneration of a literate society in Kerala. He, almost like a botanist, documented the water plants, palm trees, the wild plants that grow along the river fronts and so on in his characteristic style. They were the emblems of a dying culture. Through them Rajan asked the initiated public to take responsibility of such degeneration of the eco system and the eco system of politics and culture in Kerala. Rajan was a village boy in his mind. Even when he was living in the city, he was thinking about the nostalgic life in a village; not because he was craving to go back there, but because he knew that slowly such a life also would change and the environments will yield before the onslaught of urbanization and industrialization, which would eventually turn everything into rusting landscapes of abandoned structures.


May 12 to 23 June 2016
Bhupen Khakhar

Chintan Upadhyay



Mehli Gobhai

6 April to 7 May2016
"Motorscapes Heroes" Solo Show of Pratik Sharma
Cars have been a source of fascination for several artists, most notably the legendary American artist Andy Warhol. Warhol’s enduring fascination with automotive vehicles came from the fact that he viewed them as emblems of American consumer society and popular culture.

Pratik Sharma's new body of work offers a quirky perspective into an auto-mobile world: a world in which cars function as metaphors for life. Intricately drawn and inked, Sharma's cars, once stately and regal, are bandaged beauties. They assert a wilful presence,despite states of disrepair. Virtually a scar clan,this fleet of cars wears its dents like badges of honour.

The artist's forte lies in his ability to create high contrast. He posits his mechanical personas against stark swathes of glowing primary colours. The flat application of blinding diagonals of paint is a counterpoint to the intricate, almost calligraphic inking of their complex inner machinery.

Each canvas contains many stories, some of which are connected also to the history of the car's model. A small format canvas encasing a frontal view of the VW Van, for instance, evokes heady days of Woodstock and counter culture. Pratik's strength is his abiding passion for cars: the childhood obsession has bloomed into a serendipitous love affair. For where others might see a dilapidated world worn machine, he sees a weathered beauty that has lived a life filled with adventure.

Infused with personal magic, Pratik Sharma's cars appear to possess an ability to fly...on wings of grace.

Anupa Mehta January 2016

3 - 24 March, 2016

9 - 23 JAN 2016

3 DEC'15 - 5 JAN'16
Excavations, Solo exhibition of Abhijit Kumar Pathak

Abhijit Kumar Pathak was born in Bihar in 1986. He did his BFA, from BHU, Varanasi, Benaras, a city densely populated, imbued in Temple Architecture, Art, Music, Poetry and a tangible grace, with a added Diploma in Music (Tabla). He rounded off his academics with a MFA at Jamia Millia, Delhi.

Abhijit’s work of art is a process initiated by him. In that way the paintings is never finished but only begun. If successful, the work starts to live a life of its own, a work of art begins to work. His art is not precisely expressing himself but trying to figure out how to make artwork that is not a version of a pre-existing object and is a record of his complete engagement with his social situation and material conditions. Not only is Abhijit his own subject but his own producer – no one else is responsible for his work.

He does not begin with a definite sense of procedure. Armed with Tarpaulins as his favoured surface, Earth colour, Pigments, Acrylic colour, Fabric, Charcoal, and colour pencils, it is free association from the start to the finished state; kept alive by an intersection of physical experience, individual feelings and ideas.

Abhijit’s work has no beginning, middle and end, or any variation of this principle – such as fragmentation. We do not enter the painting in any one place. Anywhere, is everywhere and we dip in and out when and where we can – it gives the impression of going on forever, beyond the literal dimensions of his work; inducing an attitude of communion and contemplation, a excavation of uncertainities of our time.

8 Oct'15 to 21'15 Nov extended to Nov 30'15
A Point And Line to Plane XI
A Point & Line to Plane XI

This is the XIth edition of this curatorial effort that Gallery Beyond showcases every year in the monsoons. Alongwith a few well known icons of abstraction and some rising stars, the younger upcoming artists get to be viewed alongside this august company. The common thread that weaves these artists together is Abstract Expressionism.

Abstraction does not deal with objects or with effects or with images. It is a purely expressive art, one that excludes all the styles of the past and is a plastic art with only one purpose; to inspire human nature towards beauty.

“The creating force and the expressiveness of painting reside materially in the colour and texture of pigment, in the possibilities of form invention and organization, and in the flat plane on which these elements are brought to play.

The artist is concerned solely with linking these absolute qualities directly to his wit, imagination and experience, without the go-between of a ‘subject’. Working on a single plane as the instantaneously visualizing factor, he realizes his mind motives and physical sensations in a permanent and universal language of colour, texture and form organization. He covers the pure plane of expression that has so long been hidden by the glazing’s of nature imitation, anecdote, and the other popular subjects. Accordingly, the artist’s work is to be measured by the vitality, the invention, and the definiteness and conviction of purpose within its own medium” ….. Man Ray 1916. The Forum Exhibition of Modern American Painters

17July to 4 October'15
THE 377191 WALL, Freedom to Express, Freedom to Choose
The 377191 Wall art show to open at Gallery Beyond

Gallery Beyond in association with KASHISH Mumbai International Film Festival 2015 will host a month-long art show – The 377191 Wall. 238 artists have come together to express their solidarity with the fundamental right of freedom to speech and expression & the freedom to choose whom to love. While Article 19 (1) (a) protects the freedom to speech and expression, section 377 of the IPC is a law that criminalises same sex relationships. The group show of 271 mixed media works reflect on both these issues and will run for a month between May 23 – June 27, 2015 at Gallery Beyond. It will coincide with the sixth edition of KASHISH Mumbai International Queer Film Festival to be held between May 27-31, 2015. ``Why 377191? Because Freedom to choose opens up the mind to ways of growth in any field, more so in art and culture. We come from a lineage where arts and culture had no boundaries. We have enough tangible history to uphold it whether it is the sculpture at Khajuraho or our Mythologies,’’ said Vibhuraj Kapoor, owner of Gallery Beyond, who has also curated the show.

For KASHISH, South Asia’s biggest and India’s only mainstream LGBT film festival, this is the first time that it features art as one of the special events. ``KASHISH is glad to embrace art forms other than cinema and literature, to this year co-host an art exhibition,’’ said Festival Director Sridhar Rangayan. ``Paintings and sculptures speak to one's inner mind and vision and we hope the 271 artwork on display communicate a deep sense of dignity, freedom and equality for all. I think, in these artworks, more is said by the unsaid and unstated. The audience's interpretation is the key to multiple understandings of the underlying emotions. "We are grateful to the artists from across India who have shown their solidarity with the cause of freedom,’’ said Rangayan. A portion of the proceeds from the sale of the artworks will go as fundraising for KASHISH 2015.

The 271 mixed-media works, including those by prominent artists LalithaLajmi, Brinda C Miller, BaijuParthan, Anju Dodiya, Kahini Arte Merchant, Mehli Gobhai, Sharmishta Ray and Sudarshan Shetty.

Article 19 (1) (a) of the Constitution of India guarantees every citizen the fundamental right to free speech and expression. Over the years this freedom has faced the onslaught of diktats, the moral police and vigilantes. Section 377 of the Indian Penal Code criminalises same sex relationships, taking away from a person their right to choose love. The law affects not just the gay, lesbian, bisexual and transgender community but everyone who believes in personal choices of sexual and gender expression.

The artists have come together to express their solidarity with the fundamental right to express and the freedom to choose. At a time when art and culture is being stifled by censorship and diktats, artists and activists have united to voice their opinion on freedom, equality and dignity. The group show of 271 mixed media works are also a timely reminder that the Constitution protects the ``right to free speech and expression

23 May – 14 July, 2015
"Five Stories" A Group Show
Five Stores

A Group show of five artists, Pritam Bhatty, Preetha Kannan, Dev, Neeraj Patel & Abhijitkumar Pathak.

Neeraj Patel mines just the fact of just being. His work is an extension of his effort to makeover his experience. It leaves no doubt concerning its reality as an action and its relation to transforming him. The layering of colours and the translucency of his surface treatment makes his work meditative. His canvas talks back to him to provoke a dramatic dialogue. Each stroke has to be a decision and answered by a new question. He lives and works in Baroda, India

The basic concept of Dev’s work is life around him. He has been a urbanite all his life and reacts to everything that has happened – either political or cultural. But obviously, his painting and collages are his thoughts and he thinks through them. Painting to Dev, has become a kind of language.

In Preetha’s work, the static image moves. It moves you with its internal movement, when it comes from the brush of an artist. Preetha’s canvases acquire this quality to move, arising from the moment frozen by her, and becomes contemporary since it is the moment, which has evolved into the signpost for evaluation.

Her palette is notable – has wedded pointillism to pixels, thus creating vast depths. The surface of her canvas is covered with dots, each surface dot with 8 to 10 sub colours behind it to achieve the perspective. Her landscapes are different; instead of looking out at a vista, she draws you in to her work, more a participant than a viewer. She lives and works in Mumbai.

Pritam Bhatty’s works are from her Icon series created on the premise that most beautiful woman can get what they want. It is multimedia work, overlays of print, water colour, thread and sequins. The predominant prints are from the biblical stories of Judith and general Holofernes and the story of Samson and Delilah. Judith's Town Bethulia, a corridor to Jerusalem, was laid siege for 34 days by the Assyrian general Holofernes who gave them five more days to surrender. Judith who was a very beautiful widow, managed to get into the gullible generals tent, and walked out with his head in a sack on the fourth day. These prints are the pictures of women icons, in this case Waheeda Rehman and others, overlaid by textures painted / printed by Pritam. Over the final print she has painted the Pitcher plant, beautiful but a canibal plant, further embelishing it with sequins.

Objectivity, the ambition to treat the totality of existing things and the necessity of structure is the one word that one can use to sum up Abhijitkumar Pathak’s works.

28 April to 19 May2015
“GAIA RELOADED” Solo Show of Preetha Kannan

The Gaia principle proposes that organisms interact with their inorganic surroundings on Earth to form a self-regulating, complex system that maintains the conditions for life on the planet. But at this crucial juncture of history, where humanity’s intervention in nature threatens life itself, the Gaia principle is being grossly violated.

While in her earlier landscape series GAIA, Preetha Kannan had concentrated on providing her vision of idyllic balance in nature, the present series GAIA RELOADED is inspired by a civilization gone viciously out of balance: a disturbing dystopia in the last pristine wilderness on earth: the great ocean deeps.

A dystopia inhabited by ichthyoids, suspended amidst the detritus of contemporary civilization.

And yet this dystopia is not ugly. It has a still beauty, all its own. A new unfamiliar beauty with a disturbing sense of balance.A dystopia that mocks at the transience of human civilization and quietly asserts the eternity of nature.

Nature will keep reloading, but can humanity reload?

26 Feb - 26 April2015
Combines - A Group Show

The use of materials that had a history or meaning and use, all their own. Sometimes paint is used to connect the materials or attach objects to the painting, hanging them, or assemblages or construction with the materials. These works combine the elements of both painting and sculpture, but are neither. Rauschenberg called them “Combines”, Calder’s mobiles and Duchamp’s ready mades were the first step in this terrain / concept of art.

Very often these are autobiographical. Sometimes, art is not created as a enduring masterpiece for an elite, but to further a perpetual process of discovery in which everyone can participate. It is breaking down all barriers between art and life.

Rauschenberg wrote “Painting relates to both, art and life. Neither can be made. I try to act in the gap between the two.” Art, said John cage, a composer, should be an affirmation of life, not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply to wake up to the very life we are living.

11 Dec - 20 Feb 2015
A Point to Line & Plane X
A Point & Line to Plane X

This is the Xth edition of this curatorial effort that Gallery Beyond showcases every year in the monsoons. Alongwith a few well known icons of abstraction and some rising stars, the younger upcoming artists get to be viewed alongside this august company. The common thread that weaves these artists together is Abstract Expressionism.

Abstraction does not deal with objects or with effects or with images. It is a purely expressive art, one that excludes all the styles of the past and is a plastic art with only one purpose; to inspire human nature towards beauty.

“The creating force and the expressiveness of painting reside materially in the colour and texture of pigment, in the possibilities of form invention and organization, and in the flat plane on which these elements are brought to play.

The artist is concerned solely with linking these absolute qualities directly to his wit, imagination and experience, without the go-between of a ‘subject’. Working on a single plane as the instantaneously visualizing factor, he realizes his mind motives and physical sensations in a permanent and universal language of colour, texture and form organization. He covers the pure plane of expression that has so long been hidden by the glazing’s of nature imitation, anecdote, and the other popular subjects. Accordingly, the artist’s work is to be measured by the vitality, the invention, and the definiteness and conviction of purpose within its own medium” ….. Man Ray 1916. The Forum Exhibition of Modern American Painters

19July-30August upto Oct’14
"Urban Cartographers"

The three cartographers, all from urban backgrounds of Pune, Udaipur & Baroda, map urbanization in their own, unique palettes.

Mitali Shah from Baroda, negotiates the multiplicity and constant transformation of urban cities as organic forms. Treating the surface layer of the ground as skin, she uses materials such as handmade paper, jute and threads. Mitali’s paintings on paper, are about approaching the question of urban growth from an oblique angle with cellular forms woven that twist around each other, overlapping to create patterns and drawing the viewer’s gaze into an otherworldly landscape, capturing the sense of urban planning that seems clustered and shifting. The layered composition reflects the confusion, constrain, saturation and haphazardness that characterizes contemporary life by exploring city formations as evolving forms and structures. Much of these visuals come about from experience of clustered houses connected by electric wires and cables.

Neeraj Patel a MFA from Udaipur, now living in Baroda, invents from personal experience, creates from an internal world rather than an external one, dramatically personal, each painting contains part of the artist’s self, his reflection of being a urbanite. His visual language is a assemblage of various materials, each combine has to be a decision and answered by a new question. His paintings are large because Neeraj wants something very intimate and human. He feels that to paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass – a larger picture has you in it!

Shrikant Kadam from Pune, refers to yearning to return from the concrete jungle of the city to a more natural habitat. His paintings are about large spaces collected in memories – soft, a bit hazy, green – yellow, fresh intense blues, defused reds, oranges, whites – a crowded quietness away from the urban cacophony of sounds and images

19 May - 25 June 2014 extended 18July’14
Pot Pourri...a group show
Participating Artists

Antonio Ecost



Ganesh Gohain

Irena Vezin

Ketaki Pimpalkhare

Madhuri Bhadhuri

Manish Pushkale

Pandit Khairnar

Prakaash Chandwadkar


Ravi Mandlik


Santana Gohain

Seema Ghurayya

Sheetal Gattani

Shrikant Kadam

Vanita Gupta

Yashwant Deshmukh

April 21- 15 May 2014




6 - 31 MARCH extended upto 15 April’14

"Somewhere along the line, despite my thrashing and flailing, and carefully constructed escape routes, despite, and perhaps even because of the fact that I threw my life across three continents before the tender age of twenty- I made a decision to hold on to India. I decided, in the slew of small and slowly adding up choices that we make- whether to pack the Khadi kurta or the Oxford shirt, whether to learn how to cook myself dal, or just some pesto pasta, whether to grapple with Islamic philosophy or curl up with popular atheist arrogance- I decided that I was going to hold on to India.

So, my journey across the country, my Bharat Yatra last summer, was just that- my photographic documentation of India wrestling with its own slew of small and slowly adding up choices- between its flashy modern fixings and its deep religious roots- the portrait of the Buddhist monks on their iPhones, the landscape of the neon painted, fluorescent light-bulbed temple- capturing those moments, and framing this quintessentially Indian and yet universal struggle, was my act and declaration of holding on and letting go and growing up to what all those choices truly mean."


5 - 28 FEBRUARY2014

What is it in front of our eye that makes us think or be baffled? Why does it demand our attention?

It looks like a photograph but to be precise it is something more than that. Has the artist seen through the lenses in his eyes or has he planted his eyes in the camera?

From my point of view it is absolutely contemporary form of art, because it belongs to a time between ancient past to infinite future. Both machine and Ashish exchanged with each other what they had been missing.

Their togetherness is astonishing and it stands for their identity.

While Ashish looks at the outside world the camera peeps into his mind.

We have to follow Ashish’s works with such a will for appreciation. He is neither afraid of his ignorance nor over confident of his intellect, humbly and spontaneously he exposes his vision for us.

Prabhakar Kolte, 2013

15 JAN - 5 FEB'14
A Group Show
List of Artists A.A.Raiba Antonio Ecosta Dev Jogen Chowdhury K.M.Adimoolam M.Reddappa Naidu Madhuri Kathe Manish Chavda Naynaa Kanodiya Pawan Kumar D Prajakta Palav Aher Pramod Kumar Preetha Kannan Rajan Krishnan Sheetal Gattani Shiladitya Sarkar Shrikant Kadam Vitoaarthr

22 Oct - 15 Nov 2013
"SCAPES" A Group Show
Scapes refer to a combined form of a view denoting a specified type of scene, the most early and recognized being a landscape. Then there are Skyscapes, Moonscapes, Seascapes, Riverscapes, Cityscapes, Hardscapes (are paved over areas like streets and sidewalks, large business complexes, housing developments, Industrial area) Aerial landscapes. Inscapes (usually surrealist or abstract, which seek to convey a analytic view of the mind as a three dimensional space) and probably some more.

Scapes is our endeavour to showcase works from the classic Landscapes of the Bengal School –-- Ramkinkar Baij, Abnindranath Tagore, Gagnendranath Tagore, Sailoz Mukherjee, followed by the contemporary approach from the 50’s onwards -- F.N.Souza, C.D.Mistry, Laxman Shrestha, A.A.Raiba, Jogen Chowdhury,M.S.Joshi, R.M.Deshmukh, Jasu Rawal, P.N.Choyal, to mention a few. Add to this the current contemporaries…. Rajnish Kaur, Preetha Kannan, Anjana Mehra, Rajan Krishnan and others.

4 - 30 Sept'13 - extended till 15 Oct'13
UP TO THE NINES - Anniversary Show
A Group Show celebrating our muses of the last nine years; our success stories of show casing young artists, many for their first solo shows, that spring boarded them to the national and Global Art World…… artists like Prajakta Palav, K.K.Raghava, Minal Damani, Ratna Gupta, Puneet Kaushik, Preetha Kannan, Pritam Bhatty, Manish Chavda to mention a few.

This coupled with some memorable workshops, eight at The Oberoi, Mumbai, and as many at the erstwhile Le Meridien, Mumbai, Bangalore, Kochi and Goa., enabled us to do exactly what we had set out to do – to carve ourselves a niche for yound, new art. The workshops comprising of 16 to 18 artists at a time (some as many as 32 artists) provided the much needed seeding ground for exchange and stimulation.

This show is also an acknowledgement to the younger art fraternity without whom we could not have survived the last some years – the free fall from January’08.

The works in this celebratory show comprise of earlier works from shows and workshops and some new contributions.

Alongwith the fine arts, we have made a conscious effort to pursue and connect other art forms; films for the Kala Ghoda Festival for the last two years; Thespo X a photgraphic exhibition, Alec Padamsee’s Experimental Theatre Group, Raell Padamsee’s Academy of Dance & Speech etc. Our most recent foray into Social based issues was the multifaceted show “Resist” comprising of Art, fashion and music.

17 - 23June'13, July'13 & August'13
Group Show

April 25 - 14 May 2013
"Time Passages" Solo show of Pritam Bhatty
Time Passages 2011-2013

Digital prints on canvas with embroidery, acrylic paint, image transfers.

This series of work is based on my great-grandfather’s diary dating back to 1897. It records their life in the then remote district of Pithoragarh in north India.

Over a hundred years old the pages are yellow and brittle, the photographs, torn and damaged are faded sepia. The diary is extremely rich visually by itself. I wanted to use this in my work but to use it and to play around with it as random found images was not possible.

The family connections were too strong. This posed both a problem and a challenge. It was easy to fall into a nostalgic trap and stay focused on the quaint and the charming.

I began to explore the idea of family and memory; of diaries and photo albums as receptacles of memories and family history. I realised it is close to impossible to share and experience the memories captured in them in the same way as the creator intended and therefore my looking at them was entirely subjective. My gaze was in a sense giving them a new life and significance. I was layering them with my own perception and memory of family history and events in time. The idea of layering of memory and time opened up interesting possibilities of how I could use the material in my work.

I photographed the diary and its contents and made digital collages. Images of my own watercolour paintings, and image transfers of family members, are ‘stitched’ together using embroidery to form a composite whole.

To me the idea of a needle piercing the surface and holding all the elements together is symbolic of keeping memories, emotional connections and the layering of time. Floral patterns recur often, as a child they are the most vivid recollection I have of clothes, upholstery and curtains in my grandfather’s house.

In the smaller works, ‘Bloodlines’ I zoomed in to photographs of children, these seem in contrast to the adults refreshingly candid and far more animated. It seemed appropriate to combine them with my water colour “Bones in the Mincer”.

Pritam Bhatty, March 2013

14 March - 22 April 2013
Repositories - A Group Show
Repositories – a receptacle in which things are stored (memories) a place where something is found in significant quantities. For Santana Gohain, a wall that is a testament to the time gone by; for Rajnish Kaur, maybe a remembered glimpse of Mumbai city from the bay windows of The Trident while on a art workshop; for Prakaash Chandwadkar the vistas of the Himalayan Range around Nepal where he treks; for Yashwant Deshmukh, the ephemereal grouping or dissipation of salt, that he sees on the salt pans while traveling to and fro on the Mumbai local trains; for Ravi Mandlik the layered stories on the street walls of the congested migrant quarters of Mumbai; for Sheetal, the rememberance of a textured time space; and for Nitin Agrawal, the eternal kismet or of a exchange by just a touch!!












25 JAN-10 MARCH 2013
Manish Chavda Manish Pushkale Mrinal Dey Preetha Kannan Pritam Bhatty

13 - 30Dec
"ADHYATMA" Recent Sculptures of Bhagwan Rampure
Bhagwan Rampure’s journey began with the Cheetah for a motorcycle advertisement, leaped with the Bull of the Stock Exchange. A student of Adhyatma, the spiritual science of the self, his work reflects the philosophy – like a method actor, he gets under the skin of whatever he is sculpting to reach perfection. “A magnificent personification of the style of representing the formless” said Shri Vijay Tendulkar, the inimitable playwriter. A graduate of Sir J.J.School of Arts – 1987, Rampure’s work is a deep study of his subject and pure instinct. “It is not the accurate way in which the shape of vase, the ears, the face, or the hands & legs that define a good sculpture; it is the character and emotional make up of the subject that must be reflected in the final result” says Rampure.

1 - 30 November 2012

The very word “ICONS” brings to mind devotional paintings of Christ or another holy figure, typically on wood, venerated in the Byzantine and other Eastern churches. A personal icon would be a person or a thing regarded as a representative symbol or as worthy of veneration, reverence, great respect or adoration – a image which has a characteristic in common with the thing it signifies. The very word icon originates from the Greek word ‘eikon’ meaning a “image” or “likeness”.

A personal Icon – it could be whatever you venerate. It was wide open to interpretation except the fact that it had to be created in a finite space – a altar. We sent two of these to every artist. The brief to each artist was to create add, subtract, paint, print, scratch, sculpt, install, etc, or do away with it and go on to any other preferred medium.

The response is phenomenal.



It was an interesting proposition from Gallery Beyond to ask a set of artists, what would they do with altars as their art work?

Certainly it’s going to be interesting to see how each artists have used these altars in their art practice. Whatever you put in this little space, it will automatically become something sacred, since this space has been widely used to put your beliefs in it. The beliefs one would have could be in any form or shape, or it could be something from a collective practice. When I was confronted with this idea of altar I was little puzzled about this space, I asked myself honestly what is that in me could take this sacred space of this altar, At the end I could come up only with the concept of 'Love'. I did not want to give any shape to it since it has no shape, size, colour, etc.


Using paper as colour on the outer surface, gold foil and gold colour in the inner surface, a textured ring, which while I was making it, seemed to be chanting, insisting that I look and accept my existence. Nobody can be perfect, yet, we all work at it with a sense of colour within


When the Altar was placed as a concept to work on at a camp at Goa, one of the artist put a object in it which disturbed me and made me think. “What would happen if it was a structure of another religion? Does fundamentalist fear keep people from playing around?” It made me relook, as a spectator, observing the word Freedom and coming to the conclusion that “Man is in the image and likeness of God” This work is just that, however much one distorts, desecrates …… it is the feeling of the belief that matters.


'The alter has been done on the lines of celebration.

It is celebrating my personal connection with the supreme that guides each day of my life.It has numerous names and endless description, thus I have chosen to leave the core vacant.'


The world is made of differences. A form appears due to its difference with other forms. Red is red because of its difference with other colours. A mountain is a mountain because of its difference with other forms. Souls and consciousness exist because of their difference from others of the rank. If differences were not there, nothing would appear visible, nothing would in fact, exist. (Derrida has said the same.)

Paradoxically, much trouble has happened in the world due to this fact of these differences; colour of the skin, linguistic and cultural differences, geographical positioning of individuals, food and nutrition, gender inequality, economic imbalance, colonization, imperialism, ethnic cleansing, etc.


the untouched inner natural self , our own conscience, is the beauty we need to explore , as we live in this world of material desires. and deal with emotional, financial and mental baggage we owe an answer to our self's



A space which is known and unknown

A space which existed,

A space which has changed!

But the history remains!

13 Sept - 29Oct'12
A Point & Line to Plane VIII
Abstraction does not deal with objects or with effects or with images. It is a purely expressive art, one that excludes all the styles of the past and is a plastic art with only one purpose; to inspire human nature towards beauty.

“The creating force and the expressiveness of painting reside materially in the colour and texture of pigment, in the possibilities of form invention and organization, and in the flat plane on which these elements are brought to play.

The artist is concerned solely with linking these absolute qualities directly to his wit, imagination and experience, without the go-between of a ‘subject’. Working on a single plane as the instantaneously visualizing factor, he realizes his mind motives and physical sensations in a permanent and universal language of colour, texture and form organization. He covers the pure plane of expression that has so long been hidden by the glazings of nature imitation, anecdote, and the other popular subjects.

Accordingly, the artist’s work is to be measured by the vitality, the invention, and the definiteness and conviction of purpose within its own medium”

Man Ray 1916. The Forum Exhibition of Modern American Painters

9 Aug - 8 Sept’12
"8/560" A Group Show of 8 Artists from Bengaluru
A Group Show of 8 artists from Bengaluru – all figurative artists in their oeuvre, with a distinct imagery of their own – Arakkal’s dreamy works; Vasudev’s firm roots in folk history, Bhaskar Rao’s everyday images; T.M.Aziz with a more contemporary photo-images; the intense surrealism of Babu Eshwar Prasad with Rudraguad’s biting take on society; Murali Cheeroth’s concern with politics and Ravi Kashi’s almost facebook like take on todays youth. A Show of 8/ from 560 – Bengaluru.

10 July - 8 August, 2012
"Summer" - A Group Show
Summer ……the warmest season, the period from the summer solstice to the autumnal equinox – in the case of Mumbaikars, the double edged monsoons!!

To Mumbaikars, it’s about Alphonso Mangoes (Rajan Krishnan); the long weekend retreats to family homes in villages (Rahul Das); the parched landscape (Sanam C.N); the constant cooler – the sea (Shamendu & Dileep Sharma); the fenetic pace of people rushing to reach shade / cover (Bheemaraya); the beauty of early summer & the season of growth (Pramod G & Manish Chavda); the moonlight, drying back water and the overgrown nullahs (Preetha Kannan); the quiet fragrance of the blooming Passion flower (Khyati); the rich, spreading leaves of a lush lotus pond-(otherwise just a stinking pond) (Kajal); the stories embedded in the hot peeling walls (Santana Gohain); the constant demand of the sweltering heat – water (Pratul Dash); the lazy afternoon indoors playing cards (Shubha Gokhale); the watching of the old movies & reruns – new ones are restrained in their release (Pritam Bhatty); the redolent long afternoon sitting in the shaded part of a verandah, dreaming (Sanjeev Sonpimpare) or just lazing in bed (Prajakta Palav); for children the long summer break of unending play (Chanda Vaze); the aimless surfing on the net with time hanging (Rudragaud L Indi) and the sometimes comforting but deceiving dark clouds viewed from the Gateway of India(Pramod Kumar)! LIST OF ARTISTS





















12 June - 10July, 2012
Aqua ……The Sea God; a solution, especially in water. A painting method.

A watercolour is the medium or the resulting artwork in which the paints are made of pigments suspended in a water soluble vehicle. The work so produced is transparent and appears luminous. It has a unique ability to summarise, clarify and idealise in full colour. The works of Bhupen Khakkar, Surendran Nair, Badrinarayan, Ganesh Haloi, Laxman Shreshtha, Rekha Rodwittiya, Pritam Bhatty, Shibu Natesan, Sujata Bajaj to mention a few, amply exemplify all the above qualities.

10 MAY - 9 JUNE2012
Recent works of RUDRAGAUD L INDI
The concern for loss, the urge to see the world as a discernible space and cautious observations of the goings-on inform the seemingly surrealist work by Rudraguad L Indi. He takes the role of an overt commentator and a satirist.

The paintings are delicate and have an ephemeral quality about them. Yet the raw energy and starkness in the portrayal leaves a lasting memory in the minds of the viewer. Indi re-orients Piccasso’s Guernica and the Goddess of Oomph Marlyn Monroe; Gandhi on the chess board and Hilters killing fields; the madness of Charlie Chaplin or the eerie magnetism of Whacko Jacko – Michael Jackson; all this with a curious mix of respect and disregard. The past tiggers a memory in the present – the past and the present moment merges with each other, time melts to create a mood, an essence; the imagery is both sensuous and grotesque; so starkly real, balanced precariously on the edge of a half sleepy state.

3April - 10May 2012
Pop Art is for Everyone - Prints show of Andy Warhol
Andrew Warhola 1928-1987, known as Andy Warhol, was a American painter, printmaker & film maker, who was a leading figure in the Visual Art Movement known as “POP ART”. He coined the widely used expression “15 Minutes of fame”.

Gallery Beyond presents a small selection of his prints which, till date, are validated by artists of the world, to whom his works are still a source of inspiration.

4Feb'12 - 28 March 2012
Up Front and Close
UP FRONT AND CLOSE is a group show of 16 artists. Most of them have moved from their places of birth to other cities and some who have always been there and that reflects in their work. Their perception of living in large, metro cities, the complexities, the newness of adapting to establishing and putting in fresh roots, while holding on to the perceptions from the past; the multilayered life styles of the city.

While Prajakta Palav’s work reflects the burgeoning middle class, Rajan Krishnan’s looks back at his roots and the insidious havoc caused by careless use of technologies; Manish Chavda celebrates the few natural oasis of nature in Jamnagar while Preetha Kannan warms about the loss of forests; Sanam C.N’s works are haunting skyscrapers that diminish the people who live there to machine like slots; while Santana Gohain creates canvases of steel like strength, weaning memories imbedded in their surfaces; Ganesh Gohain, Sheetal Gattani and Antonio Ecosta weave their own memories of landscapes, nostalgia and multilayered imagery of the passage of time; Chandra Bhattacharjee & Sanjay Yamgar look closely at people and their travails at the grassroot level while Shiladitya Sarkar probes deeper in that direction with his graffiti like glyphs of abstraction; Farhad Hussain & Dileep Sharma give us a glimpse into the predominant Page3 world while Puneet Kaushik ruminates under the skin at relationships. Pritam Bhatty delves into the modern day iconic culture while Abir Karmakar probes into alternate lifestyles spawned by the city.

The works, all done in the small format, insist that they be viewed, looked at, Up Front and Close.

25 - 29 Jan'12
‘Little Paintings’ are a collection of small scale paintings. Those who know about my large scale works may wonder why suddenly this shift in scale, and even in content! But those who have seen my works from 1996 to 2001 will recollect my works of that period while seeing the ‘Little paintings’, and may think that I’m going back to miniature scale works again!

I believe subject demands the scale and the treatment of a painting! I’m neither addicted to subject, nor addicted to scale! I’m just addicted to painting. The very idea of making a painting is very addictive! So, engaging in the process of ‘painting’ is seeking the innumerable possibilities of ‘painting’. But, still I explore a particular subject for a period of time. At times people tend to think that I fall into creating a ‘style’ and I’m going to follow that for ever! But I do not believe in creating a ‘style’. Painting is an ever living, ever breathing, ever changing and ever growing phenomenon! Every thing is changing in the course of time. So, ‘style’ is very transitory.

‘Little Paintings’, as the title suggests, deal with relatively direct, simple and mundane imagery. Each ‘Little Painting’ is an open window. Unlike many of the earlier large scale paintings, a complete landscape as such is not seen in any of the ‘Little paintings’. But, all the paintings have elements of the landscapes around!

Rajan Krishnan 29-11-11

Equation of life changed when Ayati, our daughter was born. There are no contradictions only parallels. Scheduled time = Free time, Loosing temper =being patient, Learning =Unlearning, Being one time irresponsible = wasting many days of life in arranging the clutter created by it.

Like always, me and my family went to Murbad in monsoon. It was wet and deep, lakes were full of blue water. Soil was dark brown with florescent green young plants. Suddenly Ayati, my 3feet high,3year old daughter screamed, "aji,something is coming out of your feet." We all turned our sight,"Eeks!!" They were baby worms. pink red in colour, they were in a bunch. Spread out leaving their place when my mother in law removed her feet and kept aside.

Many people told me, while landing in Bombay, they recollect my work. This time in the monsoon when I was landing, the scene was different. All heavy cubes of deep cerulean blues and off whites and whites were bursting out of the soil to attack me.

I did my 1st solo with Gallery Beyond – Tiny Corners. I feel at home in this gallery. What excites me more in this gallery are pale yellow tiles with sparkling whites and blues, it makes me nostalgic. Though these tiles seems like an 'Antique piece', I can stand on it, I can use it...It seems as if I am touching 'History'.......so close. And the interesting part is, traces of these tiles are everywhere in the whole building. As if someone wants to kill them but they don't want to die. There is a kind of fluidity in its formation (appears, like clutter in a house).Sometimes evolving sometimes breaking. Definitely found human touch in it. That's why my tiles are pregnant.

"Butterfly butterfly flying flying, Butterfly butterfly flying flying" is Ayati's song while she swims. The rhythm as well as the visual created by it remained all the time with me when I was working.

Prajakta Palav

When the world is too much with us, we lock ourselves into a cocoon and create representations of the real that we can control. In her new suite of works, Palav transforms the gallery into a monochromatic architecture of traces. Her installation retains the antiseptic, straight-edged look and feel of the classic white cube. And yet she introduces a tenor of disturbance into this cocoon, inserting her paintings into its walls to produce a seepage of coloured image-residues. These paintings ('Tiny Corners - Part 2') are sculptural constructions that fold or jut out of the walls and vanish into them, leaving behind glimpses of scattered and hanging clothes, toys and domestic knick-knacks.

Nancy Adajania Catalogue Holding Actions Against Pralaya:

11 DEC - 14 JAN 2012
Masters Ltd - Limited Editions
List of Artists

Amit Ambalal Anupam Sud Arpana Caur Bhupen Khakkar Datta Bansode Jehangir Sabavala Jogen Chowdhury Jyoti Bhatt K.G.Subramanyum Kishen Khanna Laxma Goud M.F.Husain Manjit Bawa Nayanaa Kanodia Paritosh Sen Prabhakar Kolte Shipra Bhattacharya Suhas Roy Shuvaprasanna T.Vaikuntham

13October - 5 December2011
Between Seasons - Group Show

27 Aug - 10 Sept'11 extended upto 10 Oct'11
The Oberoi Art Camp2011 Works
The colourful streak of fourteen

Mumbai, July 7, 2011 – The Oberoi, Mumbai brings together eclectic palettes, fine strokes and flourishing ideas to orchestrate the ‘symphony of art’ from 18th July to 24th July, 2011 at The Oberoi Art Camp 2011.

Journeying into its fourteenth year of success, The Oberoi Art Camp will host creative geniuses of contemporary art, for a week, from 18th July to 23rd July, 2011, in the Mexican Room, which will be transformed into an art studio! Set against a soothing backdrop of the ocean, it will resonate with the camaraderie of artists, as they infuse canvases with passion and flair.

The week will culminate with the city’s much-awaited annual event, an artistic Brunch on 24th July, 2011, where patrons of art will get together to appreciate each of the intriguing works.

The artists participating in The Oberoi Art Camp 2011 include noted names such as Jayashree Chakravarty, Chandra Bhattacharjee, Preetha Kannan, Ashish Dubey, Binoy Varghese, Rajan Krishnan, Ganesh Gohain, Rajnish Kaur, Santana Gohain, Pritam Bhatty, Jaya Lamba, Minal Damani, Manish Pushkale, Puneet Kaushik, and Sanam C.N.

The Oberoi Art Camp reflects the rise of talent and recognition of established artists, many of who have grown with the camp from its nascent years. The artists who have participated in these workshops in the past thirteen years include Anjolie Ela Menon, Yusuf Arakkal, Prabhakar Kolte, Justin Ponmany, Nikhil Chaganlal, T. Vaikuntham, Bose Krishnamachari, Prasenjit Sengupta, Shobha Broota, Sudarshan Shetty, T.V. Santosh, Riyas Komu, Atul Bhalla and Mona Rai, to mention a few. Devendra Bharma, Executive Vice President, Oberoi Hotels & Resorts, Mumbai said: “The Oberoi, Mumbai has long supported art through a variety of platforms such as the annual The Oberoi Art Camp and The Oberoi Art Walk. Through the tradition of The Oberoi Art Camp, we are delighted to welcome back artists who have grown over the years and are now revered across the world. We are pleased to have as a partner, Mr. Vibhuraj Kapoor and his Gallery Beyond”, since the past nine years.”

Over the past fourteen years, The Oberoi, Mumbai, through The Oberoi Art Camp, has recognized art and offered its patrons a platform to appreciate creative talent. An iconic event, The Oberoi Art Camp assures invitees a showcase of some of the country’s finest talent and flair.

2 - 31 AUGUST2011
Works done at The Walden Pond, Kochi by 29 artists

12 May - 30 July2011
"Bending the Wire: Beyond the Linear"-Solo Show of Puneet Kaushik
Bending the Wire: Beyond the Linear

Puneet Kaushik is a Delhi based artist. Having studied, lived and worked at Berkeley, California, USA for almost a decade, he returned home to Delhi with sentiments and nostalgia of sinking roots within his cultural milieu. His installations are three dimensional sculptures that negate normative definition. The works are either crocheted or woven with very fine steel wire mesh and for a change latex rubber and Faux fur. As an expansive versatile medium it is premised on the condition of interaction, stimulating dialogues or another response with the spectator. Puneet in his installations successfully has been driven by a single idea or concept, injecting an element of exploration, with materials offering their own guiding agency; and in this respect he marks a posture of difference.

In his last show, the concept of ‘Germination’ foregrounds sinking roots and is a liminal phenomenon - a beginning of a journey which breaks the rigors of silence for change and transformation. The metaphor indicates germination or externalization of inner energies both positive and negative. And the visualization of such abstract feelings is threaded through engagement with the medium of installation and using craft processes, which also enables Puneet to foreground traditions via contemporary materials as stainless steel. In his works, the sense of presence and the body in relation to human experience was investigated.

In the present show, the body per se is subverted but the intervention with it is to explore his concept which involves the process of life; which his art metaphorically redefines. For instance, in a work, the crocheted forms with long lengths of latex rubber hang from the ceiling, which create an enigma, the mystery of the ‘self’ as it goes through thorny and problematic conditions when uprooted from its comfort zone and forced to take roots elsewhere. His many forms have emerged through his experiences by looking at the latter in a holistic manner in order to recognise it as a process that bridge individuals and the world. According to Merleau-Ponty, the human body is an expressive space which contributes to the significance of personal actions. The body is also the origin of expressive movement, and is a medium for perception of the world. Bodily experience gives perception a meaning beyond that established simply by thought.

This sense of expressive body spatiality has been worked through by Puneet with his material. Phenomenologically, his sculpted crocheted form, invites spectators to touch, feel and hence create dialogue with it. That his forms are not dense; rather contain interlocking spaces, with a particular silence found in the spaces between forms creating a dialectics of visual pattern, wrought by the craft process of weaving and crochet.

Puneet Kaushik

25 March-28April'11 - extended upto 7 May'11
"Up Front and Personal" - Solo show of Uday Mondal

Almost manic when he paints, Uday does not pursue the image in its figurative, narrative content. His images are mediated reality, yet retaining the humane, gestural qualities of the painted work. The question is not whether a work is abstract or representational, but how it engages an audience whose main source of information (not to mention entertainment) is the mass media. He takes fragments from images/sources, borrows images from contemporary dailies, even photographs he takes himself, distorts their contour and juxtaposes them in congested compositions. Painted in a impressive variety of techniques – staining, spraying, splashing, dripping and more traditional rendering, his works have the presence of graffiti covered walls.

In the current suite of paintings though, he has used images closer to home, up front and personal.

28 Feb - 19 March2011
"GAIA" Solo show of Preetha Kannan
The concept of Preetha’s show is represented by the title “Gaia”, which is a Greek word for the earth goddess.

In science, the Gaia theory proposes that Earth is composed of various components which have been constantly balancing each other in order to have a healthy self-sustaining earth. But with climate change caused by unchecked human industrial activity, will that continue? Can earth and life, as we know it, sustain themselves? This is Preetha’s central concern.

As an artist, Preetha looks at Gaia as made up of the five elements of Land, Air, Water, Fire and Sky. She intends to create five shows over the coming years, one for each element. In the present show, Preetha has concentrated on the element of Land, through the symbol of the tree, and evoked its pristine quality through the raw celebratory power of richly unique color.

Preetha’a art perhaps subconsciously derives from her close association with Baba Amte and Medha Patkar in the Narmada Bachao Andolan. Her focus is not pure aesthetics in terms of beauty and sublimity, rather her aim is to establish an empathy for ‘the spirit of trees’ as she refers to it.

While the above explains the socio-political context of Preetha’s work, her current show GAIA also makes the history of modern art comes alive as one makes associations through landscapes painted in the past centuries by the great European masters . This is her critical approach, introspecting memory, delving into it for a personal interpretation, in which images of the landscape and Nature from the past also embody cultural memory. Despite its postmodern approach in looping to tradition in representing Nature, Preetha’s is a narrative of quest, a search for belonging, for finding identity through expression.

GAIALOGUE: the video

Preetha created the 42 ft by 6.6 ft. painting, a powerful symbol of pure unpolluted nature, as represented by a rich green forest, in a metal works factory. The video presents a vision of this paradoxical event.

Gallery Beyond at INDIA ART SUMMIT 20 - 23 JAN 2011 Booth No C 23

24 Dec'10 - 8 Jan'11
Solo show of Vilas Shinde
Lines of Flight and Enduring Insights:

The current enthusiasm for cool, distanced conceptual strategies threatens at times to transform abstract painting into a purely cerebral understanding. Vilas Shinde reminds us of the pleasures to be found in visual seduction. His abstractions are pulsating markers woven from whiplash lines, coloured fields and an occasional sweep. They glow with an inner richness and trembling of the soul while incorporating the shadows behind them as part of their careening, shifting energy. For all their glitter and neon colours that maintain a certain austerity, these paintings celebrate their artifice, and sweeping brushstrokes seem genuinely felt, warm and intimate. He has an ability to state the most enduring truths in a style that is measured and patiently gathers a luminous energy as we navigate his work inexorably forward.

Shinde’s new paintings speak to contemporary abstraction’s continuing fascination with isolation and depersonalization of the autographic gesture.

Vilas Shinde emerged into the scene when the golden age of Abstract Expressionism is on a swansong, but that doesn’t prevent the gestural from making its claim. For many artists, gesture is no longer embedded in the same pictorial and referential structures from which it drew its original authority. Rather than being the basis for a dynamic compositional system or a clearly labeled marker of the psyche, it has become increasingly autonomous. The works here speak to contemporary abstractions continuing fascination with the isolation and depersonalization of the autographic gesture. Perspective, likewise, goes unexpectedly off-kilter; passages of almost trompe- l’oeil realism give away to swatches of abstractionist markers and pulsations, areas of thick impasto lie side by side with the thinnest of colour washes. And Shinde employs a palette which, if not fluorescent, is keyed up almost to that level, again denying any realism. In Shinde’s vision, each work in the present series is a distillation of a specific moment; an energetic abstraction notable for its fluid brushwork. The body of work subtly suggests their lines advancing into a grand scale full of faintest of incidents. In layers of gestural brushstrokes that suggest movement in space, the artist captures the rich drama of the soul.

The search is spontaneous and a bodying forth of feeling delivering the pleasures of traditional gestural abstraction in a personal or expressive idiom. He pursues a certain personal style but seems to see abstract painting as a field of possibilities to which he is soul is free from any relinquishment and pleasurable hindrances. The big sized canvases have that emphasized field of colour, some of that concentrated on tiny dots and sweep of brush stokes washed by runnels of colour regimes, asserting the physicality of paint and suggesting in the same breath a preoccupation with process. He reminds us that he is also a fascinating and master Printmaker.

His choices are concerned with the questioning aesthetic closure suggested by the now much finalities of natural and illusionistic space which have made up the edifice of modernism. The canvases are replete with images that substitute the external one translating feeling and emotions into a visual language. This painted space has obviously been conjured from the raw materials displayed, yet the illusion is never complete, never seamless. The components here are distilled and then examined as all these fascinate Shinde. His focus is on the subjective apparatus, the point of transformation and the potential for revelation implicit in his consciousness.

The canvas here is first uniformly painted and light is then introduced onto this surface by regular patches of white, green, red ochre’s and then effacing it, which are then usually successively veiled by later application of acrylic. And his inner physicality begins to bleed through barks of red. Like toned varnishes, these subsequent patches not only reduce the whites and make them recede in shadow, but their liquidity responds to the material texture of the canvas and curdles into the weave and seductive lines, restoring its physical presence. Paint is layered yet remarkably fresh, applied in broad brushstrokes so that glimmers of contrasting under painting occasionally break through the expanses of light and shadow or a wind that stirs at midnight, or at noon. The abstraction takes place in quiet harmony. It is distanced and calculated in its conception and allusive effect, but in its execution it is emphatically direct and visceral. The other part of his visual text is his extraordinarily sensitive modulation of tints and shades. After having reduced his colour to no more than a scale of values, he pursues abstract painting with fervour and discipline valourizing the activities of the mind, evaluating, weighing and balancing the relative strengths of all that it encounters in its search for order and the unresolved complexities. The erased areas between them have taken on a new resonance that pushes us to distant figurative markers and set up a rhythm through dots, line and tones. The search is meditative, spontaneous and a bodying forth of feeling delivering the pleasures of traditional gestures. At best Shinde’s paintings engulf the viewer in an expanse of shimmering light. He achieves a cool, detached contemplation of the often turbulent splendour of the nature. But presented to a public gaze, other rare variables present themselves.

Vilas Shinde’s technique is esoteric: over surfaces ranging from single simple paper to canvases he lays down layer upon layer of variously coloured acrylic on canvas and small to medium format pen and ink drawings on paper. Here, wondrous shifts between intellectual processes and explicitly physical activities reunite the cerebral spirit of the mind with the dissolving object into his painted space into nearly effaced out markers trying to hold onto a grain which he builds up in decisive stages of scraping, rollering and distanced markings. This is done without a conscious thought and very quickly. The spontaneous effort is then judged by the artist, and most often it is found unacceptable. Something is off: his balance was wrong, his attention flagged, the mark in some way fell short. If this was the case Shinde immediately squeegeed off and the action repeated for as many time as it takes until he gets it right. The results vary from large in form from the largely vertical stroke to the long diagonal sweep to the small broken marks on his canvas. Where colour has been deployed as a vehicle for expressivity; each canvas serves as a metaphor for meaning and mood. What that meaning is, exactly, we are privy to; but there is no doubting the expansively melancholy emotions behind these works, which somehow give rise to a sublimity of feeling. Yet they also demand to be grasped from a distance, at a remove traditionally associated with disinterested objectivity. In his paper work the sense of a mysterious and somewhat ominous floating in space, combined with the strokes’ disembodied quality gives the paintings an uncanniness and a suppressed charge, a welcome edge of wariness. In one of the painted fields, one sees the darkness rise like a swirl. One also hears an uncertain wind build up and, then, drop. Shinde’s works are clearly flamboyant efforts, but they go beyond a mere display of physical and emotional fine tuning. They address, in a nicely oblique way, some of the present concerns of abstract painting today. The painterly nursing of a case of ‘the awakening of senses’ can be heroic achievement. Though the metaphor of illusion is basic to these paintings here like neutron stars they don’t emit light but keep it in. the compulsiveness of the little gesture out of which they are made lends them a private, even sublime character, and the push of this compulsion against the narrow range of overall effect is what gives Shinde’s paintings their power and mediate upon the final disjuncture between consciousness and the physical world, upon the irreducible commensurability between thought and experience. He pursues a development that is at once instinctive, sensuous and fluid.

Nanak Ganguly, 2010

Gallery Beyond at INDIA ART SUMMIT 20 - 23 JAN 2011 Booth No C 23

8 - 22 December 2010
Feet, what do I need you for when I have wings to fly? - Works by Tikendra Kumar Sahu
“Feet, what do I need you for when I have wings to fly?”

“One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author”…Anish Kapoor

This exhibition presents the surrealist world of contemporary artist, Tikendra Kumar Sahu. Everyday objects and experiences gather layers of meanings and juxtapose with each other to create a new reality, closer and more true to the inner world of the artist.

The paintings are delicate and have an ephemeral quality about them. Yet the raw energy and starkness in the portrayal leaves a lasting memory in the minds of viewers. The paintings seek to capture mood in one still shot- the calmness and silence of the background in strike contrast to the vivid, often torturous images in the foreground.

The layers of meanings in the painting are often cultural, contextual and artistic in nature. Cultural meaning rooted in the deep subconscious of the artist gets depicted in unusual ways. Everyday life, the daily experience of living becomes an inspiration for the artist. The present triggers a memory from the past – the past and the present moment merges with each other, time melts to create a mood, an essence. The imagery which depicts the mood is both sensuous and grostesque. The imagery is so starkly real and connects so strongly because they are balanced precariously on the edge of a half sleepy state where the real melts into the sublime.

This exhibition gives the viewers the time and space to feel the reality beyond the real. As Frida Kahlo says: “Feet, what do I need you for when I have wings to fly?”

Gayatri Menon

Gallery Beyond at INDIA ART SUMMIT 20 - 23 JAN 2011 Booth No C 23

1 - 30 November 2010
Group Show


















11 - 30 October 2010
"GO-AA" works done at the Goa July’10 Workshop
Gallery Beyond, Mumbai conducted the third of the series of workshops being held in Goa. 15 Artists from Mumbai, Baroda, Delhi, Kolkata, Ahmedabad, Kochi and Goa came together from the 19th to 25th July’10, where the artists did what they do best, paint.

The participating artists are

Prabhakar Kolte, Mumbai Antonio Ecosta, Goa Jayshree Chakraborty,Kolkata Manish Pushkale, New Delhi Chandra Bhattacharjee, Kolkata Brinda Miller, Mumbai Vanita Gupta, Mumbai Ganesh Gohain, Baroda Sanatana Gohain, Baroda Rajan Krishnan, Kochi Puneet Kaushik, New Delhi Sanam C.N, Ahmedabad Rajesh Ahlawat, Mumbai Shirish Desai, Goa Brahm Maira, New Delhi

They worked in varied mediums: Paper, Canvas, Photography. It is not a thematic workshop but inadvertently, most of the artists present in the workshop work in the genre of Abstraction and Abstract expressionism.


PRABHAKAR KOLTE He seeks to immediately cover up any identifiable image, making sure that his forms function as pure colour in space. His most recent works show a glossier, more finished approach to his early themes in paintings. The strong ground colour remains, but this time both it and the forms overlaid onto it retain a crispness in line and colour: the "weathering" inherited from Klee has dropped out in favor of more finished - and thus more abstracted - fields of colour.

ANTONIO ECOSTA Of Indian origin, Antonio was brought up in Kenya, in Africa, and trained in Canada in Fine Arts, Urban Design and Environmental Studies, Having travelled all through his formative years, he has drawn inspiration to painting from different geographies and cultural situations. With art as his medium, he embarks on a spiritual experience; a particular form of seeing that illuminates found objects and landscapes with a personal light. His search for a deeper emotion became the prime motivation behind exploration of imagery, and resulted in his evolution as an artist, producing works such as the “Contemplative Landscape “ series in 2003 and the “Buddha “ series in 2005.

MANISH PUSHKALE Pushkale’s art is intrinsically linked with the mythological, without making overt references to the same. A subdued colour palette lends a lingering calm to his works. However, on a closer examination, the motifs and symbols in his art come to light, giving it different meanings. Subtle brush strokes and shading create multi-layered meaning.

BRINDA MILLER A strong sense of rhythm and movement, colour and volume energise the work of Brinda Chudasama Miller. In her acrylics, form and its abstraction seem to surface separate and merge in a continuous interplay of light and shadow. Over the years her painterly journey has taken Brinda on a quest to intimately understand and manipulate the materials and agents she works with so that their inherent strengths and vulnerabilities are successfully harnessed to reinforce her compositions. Like an alchemist driven to extract precious metals from a secret configuration of materials submitted to fire and heat, she uses a wide spectrum of mediums and techniques to conjure an elemental and organic world of texture and form that highlight her stylistic vocabulary. As a painter, Brinda revels in the sheer lila, playful delineation of the shifting perspectives of nature and environment, of capturing the tonal energy of pigment, of inventing a plethora of surface textures interwoven with multiple layers and imprints of ridged, stripped and masked areas that characterize her work.

GANESH GOHAIN Vision is abstract, but the visual is realistic. Shadow has volume and dimension; I realize that as a sculptor while I draw the surface, layer after layer, they also create dimension in space. "Towards The Sky" creates a huge space through the visionary study of the visual experience of the surface. It is a visual biography of an individual, his existence in space and in the space of time

CHANDRA BHATTACHARJEE Chandra Bhattacharjee's canvases are languid and far removed from the urban world. Dusky men and women exist in an ethereal realm untouched by the madness of everyday city life, carrying out their daily chores. Bhattacharjee's compositions are influenced by the rural and tribal associations that he had an opportunity to work with; particularly the 'Santhal' tribe of Calcutta. The textural quality of his paintings is strongly reminiscent of the traditional mud walls of these villages, smeared with cow-dung.

The colours in Bhattacharjee's paintings are at once, subdued and vibrant. Warm pinks, full-bodied blues, interspersed with blank areas, soothe the senses. He uses the technique of crosshatching (a method used more often in pencil drawings), in black, over the colour; this adds depth to his colours. Bhattacharjee's paintings tell a story, but it is a story without a beginning or an end and it flows seamlessly from the artist onto the surface of the canvas. The world of Bhattacharjee's creation is without boundaries; where humans, animals and surreal creatures coexist in harmony.

RAJAN KRISHNAN Born in Kerala, Rajan Krishnan’s art is very sensitive to his immediate natural environment. The fields and villages of the Kerala of his youth play the role of ‘principal protagonist’ in most of his works, expressing his deepest aesthetic proclivities. His earlier works are slightly sentimental in their depiction of childhood memories of home, but this phase seems to have given way to a more assertive cynicism that unflinchingly records the sweeping changes wrought on the landscapes he has known and loved. His works voice the disenchantment with urbanization and the environmental degradation that it has brought with it. ‘Instead of paddy, concrete and consumerist debris grow in these fields”. Bleak realities of the urban landscapes that Rajan confronts everyday.

VANITA GUPTA While referring to her work, artist Vanita Gupta says, “I believe in the ardent need to paint, nothing more nothing less.” This single statement explains how, although minimal, Gupta’s work is always complete. The dynamics of her images, however, are constantly evolving; she experiments with size and texture but the solid white background on which her paintings are mounted remains constant. Gupta’s monochromatic compositions, rendered almost fluidly with her masterly brushwork, leave the viewer captivated by their Zen-like quality. Since her first solo show in 1994, Gupta has worked assiduously towards mastering the multiple techniques by which paint may be applied onto a surface. In her more recent works, the viewer can instantly recognize her command over mark making techniques and the effortless way in which she now maneuvers between speed and patience, discovery and concealment. Her brushstrokes, varying from a drip to a splash or draggle, suggest a deep intimacy between solidity and the ambiguous nature of liquids.

SANTANA GOHAIN My work images are image of some surface where I get connected to it from my surroundings. There is a human natural tendency to feel the nature or anything which creates curiosity, and that curiosity gives inspiration to do my images through a process which is important to realize my existence and the language of my own.

PUNEET KAUSHIK Puneet Kaushik disagrees to the agreement of the difference between the cultural objects and their ‘effects’ – be it that of aesthetics, politics or merely perceptual nuance. The common sense perception that there comes the object first, creates the cultured impact like a torch emitting light, further stays as object – in – itself, even after such a trace an impact gets over, like an emptied perfume bottle. Puneet’s works treat this premise as the area of contestation but not that of confrontation.

SANAM C N Sanam C.N is a Graduate of BFA – Sculpture, RLV College, Tripunithura. After the academic practice, I was shifting my sculptural practices in to some of large drawing planes, I was dealing with a subject like globalization, marginalization, alienation,…the changes or say the phenomenon like the emergence and inversion of new social strategies and social dilemmas. As an artist my practice and representations are almost transcend and indirect, the drawings were a visual allegories of the things that I happened to see around. Within this terrain I was keen about some motives, objects, shapes or even color. All these things are very less resistive against the so called development of a consumer society. The images that I used were very specific, the trees, the part or fruits of trees, the space in between the ecosystem, the tools, the shelter being used by the fisherman, and then the buildings, small houses etc were the important ones. All the image representations were a totality of both geometrical and spontaneous outburst of mind, I also dealt with the idea of space and the mass area of land, it may be urban or rural space. The ecological space can play the role of a metaphor of changes, marginalization, and the urbanization

RAJESH AHLAWAT Rajesh Ahlawat, a self taught artist, comes from a back ground of the armed forces. Physically fit with a keen mind, his work reflects the constance of movement, travel, separation, new places, people, experiences. His works, in the genre of “Abstract expressionism” are paintings out of his unconscious, where figures are bound to emerge. They are about a state of mind, a self discovery.

SHIRISH DESAI Graduate of Goa College of Arts, dabbled in photo journalism and drawings, working for The Navin Times, Goa. Subsequently found his niche in photography and has been a cinematographer for the last many years. But old habits die hard. The painting bug never left him. He has continued painting all through, till date.

BRAHM MAIRA Brahm Maira, a graduate of Sydney College of Art, The University of Sydney, has done a BVA in Photo Media. Shooting professionally for the last five years, he has done an extremely diverse body of work covering most genres of commercial photography, as well as working closely with art galleries, curators & collectors. Brahm has established himself as an outstanding photo manipulation artist. “The medium of photography never ceases to amaze me, with its ability to turn the ordinary into something magical, its ability to transcend the physical barrier of time. Sometimes I think of my work as a crossover of reality fantasy as I incorporate elements from both to produce the final work. My work, apart from being snippets & manipulations of the physical world we live in replicated in two dimensions, is an exploration of the different realms of consciousness & am continually fascinated by the different ways it manifests itself” says Brahm

August 16 - 16 September’10
"Waves and Us" Works from the workshop at Goa in June'10
Gallery Beyond and Kerkar Art Complex are venturing into the second art workshop/camp of 2010. The workshop starts on 2nd June 2010 and the finale is on the 9th June 2010. The second being specified as more are in the pipeline!

We did the first very successful one in February 2010 of nine sculptors from all over the country – ‘Nine your Mind’ was the fabulous show that came out of it.

Art camps or workshops, in the good old fashioned way, are still sometimes, one of the few ways for the art fraternity to meet, communicate and exchange ideas. Films/slides, of the participating artists are collectively viewed and discussed. New ideas, exchange of techniques and information of what is happening from the various parts of the country that the artists have come from find a place in the discussions. A lot of them are today travelling the world over visiting and participating in the art fairs. A showing at the end of the camp gives the artists and viewers a chance to meet.


MONA RAI: “I need to feel the experience of actually hurling paint onto the canvas. I can see my work opening itself more and more”.

What might appear as randomness gives way to a feel of stillness, tranquility, evoking deep meditativeness.

AMITAVA: “The basic concept of my work is life around me. Throughout my life, I have been an urbanite and have reacted to anything that has happened – either political or cultural. But obviously, my paintings are my thoughts and I think through them. Painting to me has become a kind of language”.

Rather than focus on the outward signs of a degenerating society, Amitava’s semi-abstract paintings show the internal troubles of people placed in different situations. Surprisingly, although the subject matter of his paintings is grey and introvertal, his canvases have a gentle glow of hope pervading them.

ANJANA MEHRA: The core of her work has always been a narrative of the tragedy, immigrants get caught up in the midst of social, political and religious conflicts, unrests. She has used boats at one time, aircrafts another time, even sand, which she still incorporates in her gentle, decoloured canvases, using them as metaphors for permenance and impermenance within herself and in the environment.

SHEETAL GATTANI: Sheetal Gattani’s paintings are earthy, roughly textured, with highly reduced visual vocabulary, built with several layers of paint. Sheetal only knows her painting is complete when it ‘seduces’, ‘talks’ to her’. She claims her participation akin to a middleman or a midwife, aiding in a birthing process that was always meant to be. Says Sheetal “in any case, it is a creation that was meant to be, I just happened to be the tool. When it was being done, was the moment of wholeness, without being aware of it. Which of course, has seeds in a contrived effort of sitting down, letting go off the palette, the brush and you”.

PRATUL DASH: Pratul Dash is a conscientous painter who believes the most vital role of an artist is to work towards uplifting society. Born in rural Orissa, Dash grew in open landscapes. New Delhi, where he persued his masters degree, came as a rude awakening. His concerns are that of the depleting and deteriorating state of natural landscapes, of being a refugee tumbled into the bustling, chaotic city and finding his rightful space/place.

FARHAD HUSSAIN: Brimming with confidence, Farhad Hussain’s paintings are a melange of vibrant colours. Says Farhad, “in my earlier works, I used to work on images that come from day to day visual experience. But these images were always present with a touch of sarcasm and humour. In terms of structure and concepts, his recent works deal with more thought provoking intricacies. The underlying sublimity of humane and irony betray the true experience of the artist. Vibrant colours and bright back-drops with minute textile patterning for detail, are a trademark of Farhad’s works.

RAJAN KRISHNAN: Born in Kerala, Rajan Krishnan’s art is very sensitive to his immediate natural environment. The fields and villages of the Kerala of his youth play the role of ‘principal protagonist’ in most of his works, expressing his deepest aesthetic proclivities. His earlier works are slightly sentimental in their depiction of childhood memories of home, but this phase seems to have given way to a more assertive cynicism that unflinchingly records the sweeping changes wrought on the landscapes he has known and loved. His works voice the disenchantment with urbanization and the environmental degradation that it has brought with it. ‘Instead of paddy, concrete and consumerist debris grow in these fields”. Bleak realities of the urban landscapes that Rajan confronts everyday.

YASHWANT DESHMUKH: Yashwant Deshmukh’s work investigates the metaphysics of space and form. “For me, painting is to give shape to the space within us; the unseen space one feels through only intuition. My paintings are iconic representations of a self-contained universe. The common element in all my work is space. It is this space that provokes me to paint, to fill the void created by an empty canvas. It is the space which can’t be seen by the eyes, but only appeal through our perception. It is a mystic space of our unconcious, a fear, which we experience within us. It is the deep silence of nothingness where we are physically present, but can’t touch the body of self, body becomes space”.

DILEEP SHARMA: Dileep Sharma's watercolors on paper were on view at Jehangir Art Gallery in September 2003. His very choice of 'Tattoo' for the new collection exposes the drama the media creates in the minds of youngsters who are in awe of glamour. The artist here hopes to make a point about tattooing that has been a part of our culture since centuries, but has acquired status as a fashion accessory only recently.

Two essentials in Dileep Sharma's new body of work are role-playing and gaming. The artist is sole protagonist of his own narratives, although the protagonist might not necessarily be like him at all! To the artist playing a role as a character is not restricted to the work but must be simulated 'within your lifestyle.' He quips to say, "There is no point in drawing a lonely romantic unless you are one."

PUNEET KAUSHIK: Puneet Kaushik disagrees to the agreement of the difference between the cultural objects and their ‘effects’ – be it that of aesthetics, politics or merely perceptual nuance. The common sense perception that there comes the object first, creates the cultured impact like a torch emitting light, further stays as object – in – itself, even after such a trace an impact gets over, like an emptied perfume bottle. Puneet’s works treat this premise as the area of contestation but not that of confrontation.

Be it his installations or black and white drawings, there is a mutually interchangeable quality to them. While the former is a set of lines that have gone creatively astray by falling into an order, the later is not only the basic ingredient but also an agent that, finally, refutes the sight’s focus upon itself.

P.G.DINESH: P.G.Dinesh a Kerala based artist living in Thrissur, has a ticklish artistic sensibility that evokes humour, satire, wit and irony. His style is dramatically simple and unabashed, his imagery tantalizing, seductive, engaging, powerful, provocative and shocking. His subject is his invented individualized history and myths excavated from the popular visual culture of his milieu, creating a narrative of the contemporary.

MURALI CHEEROTH: “My working processes is a kind of an extraction system, that draws on tiny concerns about urbanization, frenzied globalization and the visual/virtual stimulation therein, and folds and unfolds them into another reality to simplify their characteristics and relationships in order to build a new visual experience that is clear and vivid”, says Murali Cheeroth.

VIRAJ NAIK: Although already proficient and established as a printmaker, Vasant Viraj Naik displays a natural flare for watercolours as well as acrylics. His works involve enchanting figures, which reflect his fascination with Greek mythology, and at the same time possess a distinct Goan feel – an influence of his strong roots.

SUHAS SHILKER: It is true that the environment has a crucial role to play in the temperament of an artist. The inherent tendencies get enhanced, the artist and his creativity are at its best. This statement would also be very true for Suhas Shilker whose 'abstracts' are active as well as passive, they are dualistic, brimming with active molecules from the microscopic world to the cosmic energies.

July 1 – 15 August’10
"Nine your mind"....Group show of 9 sculptors
An initiative by Gallery Beyond at Subodh Kerkar’s studio, Goa to re-invent, record, process and sometimes ephemerally realign the times we live in, had resulted in the coming together of nine sculptors from all over the country.

Art camps or workshops, in the good old fashioned way, are still sometimes one of the few ways for the art fraternity to meet, communicate and exchange ideas. Films/slides of the participating artistes are collectively viewed and discussed. New ideas, exchange of techniques and information of what is happening in various parts of the country that the artistes have come from find a mention in the discussions. A lot of the artistes today travel the world over visiting and participating in the art fairs. A showing at the end of camp gives the artistes and viewers a chance to meet and interact.

From among the sculptors Prithpal Singh Ladi from Shillong is the senior-most and internationally well-known sculptor. He had come back to Goa after 32 years with his charming wife and son. He worked on a “Pandora’s box”, a menagerie of memories of what Goa was and has become. “I came to Goa last in 1978 and I had lived in the beautiful peaceful village of Anjuna. But today, I was shocked to see the distortion of that beautiful place,” says Ladisaab. He elucidates how this shock turned to inspiration and so through his work he is trying to tell people that he is taking away a slice of the Anjuna of yore. In a casket which has in it, a beach, real water, a little hillock, a hut and a boat. I’ve given a crack in the box from which water is running out”.

Reghunandhan from Kochi has put in form his concerns of over population. Perhaps, the depletion of nature in the form of a steep hill (vertical migration), while homes rub shoulders with factories, coconut palms with trains, the whole world teeming with the most unlikely combination of neighbours. Karl Antao from Ahmedabad, is known for his surrealistic imagery. “Heady torso” and “Pacifier for the outspoken” are two stunning pieces that emerged at the workshop.

Subodh Kerkar worked on a series of heads reflecting each other, talking of maybe Narcissus to begin with, but taking on definite overtures to masquerades and facades. Viraj Naik, eked out an Elfin-like adult with a single horn on his head, perhaps talking about the demons within each of us. The four masks reemphasize this line of thought. Pradeep Naik, a father of a toddler is understandably overwhelmed by little cherubs and angel-like heads.

Puneet Kaushik from Delhi takes the fragility of his stainless stell woven images to yet another level. The workshop has allowed him to literally think out of the box and bring into his oeuvre materials he had not flirted with earlier. The very resin in conjunction with his wired images, colour, old letters and while in Goa, of course the boats, fragile autumn like leaves speaking volumes of the teeming humanity who is in and out of Goa, realizing dreams and sometimes, a closure to dreams.

Ratna Gupta from Mumbai, is continuing her quest of mapping the DNA of trees – her fear being that the years to come may be that’s all you might get to see. “I have also worked on a cast of the female body, whereby I will have documentation of pain, patience and proverbiality. The translucent, frosted bodies will set out to freeze the inquisitive eyelids”. Shivkumar Sunagar from Ahmedabad, a master printmaker, has for the past many years been involved in children’s theatre and of late, is into designing eco-friendly (bamboo) toys. The magic he creates with ordinary wire mest speaks volumes for this young man’s talent.

3 - 31 May 2010 -Extended upto June 2010
MAPS FOR LOOKING SIDEWAYS…Solo show of Shiladitya Sarkar
Maps for looking sideways……

The allusion in Shiladitya Sarkar's mixed media works on paper is toward intertextuality. To know what Shiladitya has done and why, one has to know what codes have been broken and why. At the base of these works, there seems to be an engagement with challenging and re-locating modernist constructs. It is the codes of Modernism that Shiladitya is convinced to break, from within a seemingly Modernist arena charted by his works. Shiladitya does not stop at his critique but makes a statement. His sense-making strategy is multi-pronged, while the works are rather an active interplay of his positions than their deconstructed documentation.

The works seem to cheer/ ruminate/ ideate/ nostalgize/ presume the possibilities that precede change. Possibilities that invite change or even induce it. What makes possibilities 'happen', or one possibility to grow and others die? What is the agency that shapes these possibilities? A modernist position is to believe in the binary of Man Vs. Nature. If venture and violence / redefinition and reconciliation mark the process of change brought about by human effort, the interplay of eternal and ephemeral recurs when things change naturally. A modernist non-representative painting with its general inclination toward the man-made would rejoice in asymmetry, stark lines and strokes, and would uphold the uniqueness of the picture-plane. While a tribal, folk ‘pre-modern’ artist would follow the practices deemed eternal by him/her, and would craft the painting. Shiladitya also uses the Dadaist device of mockery, but in his own way to write an unreadable mock script over the picture-plane. Elsewhere in his schemata, the bold, masculine strokes are often challenged by repetitive and craft-like processes of producing lines with the use of the brush that is informed by calligraphy as well. Lines infested by small white rounds, done by stamping a round part of a pen or the like, further an argument against the prescriptive usage of tools and materials.

The present show makes room(s) for two bodies of work. The first is a fair selection of his recent suite of non-representational works, while the other is a miniscule culled from a multitude of figurations that Shiladitya has been doing over the years. There is no single narrative that binds these two, yet their togetherness, while being exhibited or otherwise, is notable. They are both parts of Shiladitya’s larger project to unlearn the excesses of Modern Art, and re-locating the Modern vis-à-vis a computer-inclined, consumerism-centered congestion of the contemporary in art. However strong the modernist inclination may seem in Shiladitya’s work, esp. his figurative works, conversations with Shiladitya reveal his urge to critique the notions and processes that would relegate Modernity to something Western, violent, Nehruvian or fascist. He advocates a reinvention of (the early modernist ideals, as history might brand them,) values like individual rationality and spontaneity, that might have their place in contemporary, plural, post-global and wired existence.

This insistence on such values may command a different reading of Shiladitya’s works. While processes that make these works, already endorse an interculturalist position, they do not entangle themselves in the idea of a universal culture, dictated by computers, consumerism or media. The deliberate choice to follow the pre-computers meaning of ‘mixed media on paper’, is at once a limiting and a liberating force. It limits the innumerable possibilities of having found/browsed imagery inadvertently enhancing the suggestive content of the work. It also undermines the post-television dictum of ‘less attention span’ of the viewer and makes him see the work and go back to it with reference to other works in the same suite, where it turns out to be a liberating experience.

To Shiladitya, his project is that to chart the conflicting spaces and conflicting time zones that challenge us in our self-conception, and amputates the possibility to bridge these gaps. The multicultural existence cannot be a product of ‘now’. It is bound to have strands and bays that belong to far or near past / future. Shiladitya’s works map the contemporary terrain with an aim to navigate through the time zones that belong elsewhere. If one cares to look up these maps, a word of caution: look sideways, don’t follow the grid.

Abhijeet Tamhane March 2010

29 MARCH – 19 APRIL’10
A group show of 17 artists Antonio Ecosta

Anandita Bhattacharya

Al Saidi Hassan

Jaya Lamba

Ketaki Pimpalkhare

Madhuri Khate

Martin OC

Nathan Sigman

Prakaash Chandwadkar

Raj Mohanty

Raj Mohammed Pathan

Ratna Gupta

Rabindra Patra

Seema Kohli

Shamendu Sonawane

Shivkumar Junagar

Sosa Joseph

12 – 27 MARCH’10
OF DONKEYS, DEMONS AND DIABOLICAL DEATH An exhibition of works based on Mumbai terror attacks by Subodh Kerkar

The sea is my master, my muse and my medium. The sea has inspired a number of my installations and the seashore has often become my canvas. It was a coincidence that the terror attack on Mumbai emerged from the ocean. So, it was not surprising that I made use of the seashore to create installations as my response to the events of 26/11.

My socio-political concerns find a voice in my works. The terror attack on Mumbai, apart from evoking anger, also made me contemplate on issues connected with Indo-Pak relationship, religious fanaticism and the rise of terrorism.

26/11 has left a deep wound on the psyche of the nation and especially for those who lost their dear ones. Since the attack originated in Pakistani soil, it has generated resentment against that nation. Many questions raise their heads from the pool of blood that the attack left behind. Is our county really safe? Is Indian policy towards Kashmir really right? Can the two nations not work together in improving the lot of their large poverty-ridden populace instead of spending millions on war machinery? If Germany and France can forget the trauma of the second world war and have civil and friendly relations, why not India and Pakistan? What are the causes of communal riots? Has Hindu fanaticism contributed to preventing reforms in Islam? What are the effects of rightwing politics in India on communal harmony? Are our so-called secular parties really secular?

A lot of blood has flown at the altars of religious fanaticism during and after the trauma of partition. We need to re-examine the issue as individuals and as a nation so that the plural fabric of the country is re-affirmed. A nation that desires to make great strides on many global frontiers cannot afford to nurture communalist factious politics.

‘Of Donkeys, Demons and Diabolical Death’ is an artistic, psychological and socio-political enquiry into the terror attacks on Mumbai.

The terrorists, most of them in their twenties came to Mumbai in an ochre-coloured inflatable dinghy in order to enact the dance of death. That dinghy was the vehicle of terror. On the internet I saw the picture of the original dinghy, now in the custody of Mumbai police. I decided to create an object based on this dinghy with the hoof of Satan and moving red lights in her belly. An icon of the terror attacks on Mumbai!

Terrorists are not Muslims or Hindus. They are a blot on the religion that they claim to represent. Terrorism is their only religion. They are robots …not just robots but robots with donkey-heads who are brainwashed and programmed by the satanic forces that hide away safely. I made ten donkey masks in fiberglass and some replicas of AK-47s. I worked with Affsar Hussain and his team of actors from Kala Academy, Goa. We enacted a choreographed dance of death on Morjim beach. Most of my installation pictures are the product of that brilliant performance by the talented actors.

I poured some red pigment in a puddle of water at Goa Velha beach. I was studying the effects and clicking pictures when, out of nowhere, an enormous fighter buffalo appeared on the scene. It was a sheer co-incidence. The he-buffalo is the vehicle of Yama, the God of death. The animal posed for me majestically in my puddle of red paint. That was my next installation.

I am not particularly a religious person and I dislike rituals, especially when they are performed without understanding the context. When my father passed away three years ago, reluctantly I agreed to perform the 12th day ritual. We had a few priests in our garden chanting mantras around the holy fire and making me transfer my makeshift holy thread a hundred times from right shoulder to the left. What interested me tremendously was a huge ball of rice the priest created with expertise of an artist. He told me that it was my father’s soul, his ‘pind’. He covered the soul with red and yellow powders interspersed with black sesame seeds. I was stunned by the beauty of it. Instead of paying attention to the instructions of the priests, I was clicking pictures of my father’s soul. The rice ball was then left in the garden for crows to come and taste it. When the crows eat the rice, the soul is supposed to be liberated. The crows help the soul achieve moksha. Amrita Shergil’s painting of five young Brahmins is one of my favorite works.

I decided to recreate the painting with actors and then place rice balls on a banana leaf in front of them signifying the Hindu ritual for the dead.

I created a large red ball, the same shape as my father’s ‘pind’ for the souls of all those who perished in the terror attack. I placed crows on the top of this ball. This was my homage to those who lost their lives on 26/11.

This is the era of telecommunication and terrorism. Never in the history of mankind was communication so advanced and accessible and terrorism so rampant and organized. Terrorists use electronic telecommunication equipments to achieve their goals. Paradoxically, terrorism can be considered a product of non-communication, or a breakdown in our ability to connect with others. I have used electronic circuit boards, representing telecommunication for my paintings and objects. The donkey head also appears in my works.

This exhibition is also my appeal to the sensitivity and sensibility of people to discard communalism. I hope and believe that the sea which brought in terrorists will also bring to the shores the souvenir of sensitivity and humaneness. Gods and demons once churned the sea using a serpent as a rope to precipitate amrit, the elixir of immortality. All communities in India need to work harmoniously to help churn out the amrit of communal harmony from the ocean of their being

23 November - 12 December 2009
"Germination" Solo show of Puneet Kaushik
In Germination, Puneet Kaushik continues to address the inherent quality of a ‘being’. What makes it tranform, transgress or disintegrate. His current suite of works are drawings in charcoal, ink and sequin dust as well as installations in mixed media – stainless steel, cotton and LED lights.

Puneet offers a ‘presence’ that surpasses its original i.e the object that produced it in the first place. The expected view and the specificity of the object, the gravity and solidity of a three dimensional space, are negated and negotiated but never guaranteed. What is left is this ‘presence’ in the making; not a metaphysical one but that which raises questions about such a duality.

He doesn’t make up an ‘apparatus’ (to construe art) like say a wire, a corset, a transparent wire of light or even a crayon (and more), though these are inevitable part and parcel and media-varieties inlaid into his works. They are configured together—that definitely evoke an awe and regard for the craftsmanship, the smartness in handling various materials and their intensely rendered configuration, though--to create an apparatus whose primary nature is a set of acts in creating (a) a certain ambiguity and (b) willful refusal to culminate at/as a object for representation.

His apparatus, no matter how sophisticated and unpredictable it might appear to the eye, is a primordial aspect of visual representation—the mutual play, interactivity and dependence between line and light. Though it seems absurd and abstract, the inseparable yet ambiguous combination of light and linearity is the formidable subject of his works.

Be it his installations or black and white drawings, there is a mutually interchangeable quality to them. While the former is a set of lines that have gone creatively astray by falling into an order, the latter is not only the basic ingredient but also an agent that, finally, refutes the sight’s focus upon itself. This could be explained differently: In this show there are no objects that are yet to occur.

In summary, Puneet Kaushik’s installations redefine the white cube in terms of a single equation that he draws from the dichotomy of linearity-light syntax. The surface, the shadow and textures of all the objects he has used, in totality, first of all, ambiguously diminish the mass-volumetric-like material reality of the objects he produces. Even the resultant objects, thus produced, forms deviant, simulated identities: they are not the sum total of the materials they are made up of, some are almost invisible but not invincible. Objects, in this show, evoke that which they are not made up of or for.

26 October – 19 November 2009
"Pandora's Box" Group show
Anjana Mehra

Antonio Ecosta

ArunKumar H.G.


Delna Dastur

Raghava K.K.

Kishor Shinde

Manish Chavda

Niyeti Chadha

Nitin Agrawal

Prajakta Palav

Pramod Kumar

Pravin Kedar

Preetha V Kannan

Rahul Vajale

Rajan Krishnan

Rajesh Ahlawat

Ratna Gupta

Rudragaud L Indi

Sanjeev Khandekar

Sanjay Yamgar

Shobha Ghare

Subodh Kerkar

Suhas Roy


Uday Mondal

Yashwant Deshmukh

1 - 25 October 2009
“SKIN” a photo art exhibition by SHIBU ARAKKAL
Landscape of the body…in a language of silence

“You never know someone until you step inside their skin and walk around a little.” - Harper Lee / To Kill a Mockingbird

Shibu Arakkal has been described by his mentor, Rafique Sayed, as one who has the heart of a painter and the mind of a photographer; a potent combination for a young photographer, who can create his own universe.

Over the last decade, Shibu has worked on several series of photographs which have evidenced this urge to create a personal universe. His sharp eye, instinct and insight have continually unraveled hidden spaces within historical monuments and travel sites; as importantly, it has captured the significance of ordinary objects in an uncommon way. Shibu’s solo shows have proved his ability to probe and experiment, and move freely from figuration to abstraction.

His exhibition titled 'Off the shadow' (2001) saw Shibu present a sequence of evocative visuals, soft in their nudging but forceful in their vocabulary. 'Been there' (2005) - a collage of images, presented as a travel story of near and far-flung lands – offered glimpses of truly felt moments in their variegated forms, spaces and colours. In the series on 'Abstract Notions' (2006/2007), Shibu poetically captured the real and surreal views of everyday objects, highlighting their lyrical presence, and encompassing rhythms.

With 'Skin', the young photo-artist seems to have scaled yet another creative peak. In this series, Shibu explores the landscape of the body through a language of silence. A two-year engagement with the subject has shown his commitment and connection with skin: its forms and textures, its colours and shades, its flourishes and deliberations.

The skin, literally and metaphorically, holds many secrets. It entices Shibu to enter a mystifying world. As it unravels its mystery and magic to the artist with probing eyes and inquiring mind, he becomes an entrenched traveler, a dispassionate observer and a meticulous impressionist of its inexplicable forms, meanings and engagement.

The resultant images bring to life the essence of the skin, its pores, layers, patterns, fissures, and the sensation of touch. Even its inconsistencies and imperfections enter the realm of Shibu’s visual narrative and take a poetic resolve. In these pictures, one can perceive the awesome physicality of the skin, as well as its forceful interpretation.

Shibu has, over the years, developed a unique style of employing multiple, recurring and uniquely blended images and motifs in his work. Thanks to ingenious and cultured interventions, his skin pictures too absorb technical feats with aesthetic sensibility, bringing sensual and spiritual dimensions to his work.

Shibu’s images of the skin thus open up possibilities of multi-layered reading and enjoyment. They provoke thoughts and feelings, ideas and imaginings. Looking at these thought-provoking skinscapes, one realizes that he is trying to do the same thing what Harper Lee extols in her fascinating novel about killing a mockingbird.

Giridhar Khasnis Art Writer

11 - 28 September 2009
Le Royal Meridien Camp Works 2009
















The Le Royal Meridien Art Camp was held from the 20th to the 26th July’09. This was seventh year that the workshop was held at the Royal Meridien. This workshop had a major mix of abstract artists and three sculptors, Prithpal Singh Ladi, Karl Antao & Ratna Gupta. This was the exciting new feature in the workshop to see sculptors at work. For this workshop we decided to fall back on the age old format of having a lot of slide shows of some artists in the workshop. They did a presentation of where their work started to the present times followed by healthy discussions. The artists who contributed to this work were Karl Antao, Prtihpal Singh Ladi, Subodh Kerkar, Yashwant Deshmukh & Rajan Krishnan. One evening was also taken up by watching the BBC Art show by Harry Schama. Another evening was spent dicso dancing. The workshop ended with a brunch consisting of the finest of Le Royal Meridien hospitality and cuisine. The Marquee which had been the common studio for work all through the week was converted into an art gallery for the brunch. The works made through the week were displayed and the guest could walk in and interact with the artists and enjoy getting to know the process of the work.

25 August'09 - 8 September'09
Point and Line to Plane VII
Abstraction does not deal with objects or with effects or with images, it is purely expressive art, one that excludes all the styles of the past and is a plastic art with only one purpose; to inspire human nature towards beauty.

“The creative force and the expressiveness of paintings reside materially in the colour and texture of pigment, in the possibilities of form invention and organization, and in the flat plane on which these elements are brought to play.

The artist is concerned solely with linking these absolute qualities directly to his wit, imagination and experience, without the go-between of a ‘subject’. Working on a single plane as the instantaneously visualizing factor, he realizes his mind, motives, and physical sensations in a permanent and universal language of colour, texture and form organization. He covers the pure plane of expression that has so long been hidden by the glazings of nature imitation, anecdote, and the other popular subjects.

Accordingly, the artist’s work is to be measured by the vitality, the invention, and the definiteness and conviction of purpose within its own medium.”

Man Ray 1916, The Forum Exhibition of Modern American Painters

15th July to 8th August2009
Mixed Signals
Group show of Prasenjit Sengupta, Nelson Abraham & Dev

11th - 21April 2009
"Someday" Sculpture show of Ratna Gupta
Roots…the title says it all. In all ways possible and some more. I was driving down the road between Mehboob studio and Khoja florist, Bandra, and there on the opposite side of the road, was this huge root. The BMC had dug it out to widen the road, all for the better of city and society. I have come to accept that explanation and have become the many, who turn a blind eye due to pure exhaustion. So, simply put, this huge tree had been cut down to widen the road, the root dug out and discarded. The bark and all its branches had been taken away, I’m hoping, to be used for some other purpose rather than join our mountains of waste. What irked me the most was that the roots had been left behind. I calmed myself and gave mankind the benefit of doubt and told myself that they would probably be back to collect it…which obviously they didn’t do.

It’s a beautiful work of art all by itself and just looking at it gave me a sense of strength and history. I went up and down for 10 days and everyday I stopped there, stared at it, touched it and had many melodramatic conversations with the nearby watchmen on the apathy of all that is human. Finally, I gave in to all my instinctive urges and picked it up and took it at my fabricators. Unfortunately it was way too big for my studio space. And now I am in the process of casting it. A memory of all that we might lose and all that I hope we remember. Passing it everyday, it made me feel immensely sad. Very very sad… kind of disheartening.

I am inclined towards the melodrama and melancholy. All my work comes out of strong emotion, instinct, anger and some stubbornness. It showed to me what our society has become. A disregard for our heritage, for the old, for all that was given to us. And now that it’s use is gone, we throw it away. We use the young and discard the old. That was also the time that our prestigious and well-written newspapers were carrying articles on children throwing their old parents and grandparents out of their homes. That had probably made a huge impression on my little brain. But other than that, it’s a disregard for our environment, nature, the earth. We were taught to call her mother earth. …and what do we do? Dig her up, widen our roads, so more cars can make our lungs ever so healthy, our skin glow with freshness, take away the wood, the part that is apparently strong and healthy and throw away it’s source, the roots. And that’s what we do to our parentage today. Just because they are old, does not mean that they have no use. The image of that tree root left on the side of the road, showed to me the state of our society, in all aspects of growth and decline.

14th March - 5th April 2009
Camel Art Foundation - Fund Raiser

In the early thirties when the freedom movement was at its zenith, the journey of camel began with the introduction of the first indigenously manufactured ink. The fusion of ink and trade name 'Camel' lead to christening of Company name, Camlin.

Post independence, when all the international brands left the Indian shore, Camlin was the sole company that took initiative to manufacture and supply artist materials in India under its brand name 'Camel' a symbol that represents a hardy animal capable of enduring long and tough journeys across deserts. Camel was easy to write and pronounce in all Indian languages and was acceptable to all the religions of the land.

Camlin Ltd, established in the year 1931 is the pioneer in Art Material & Stationery in India and is leader in this field since inception. Camlin is a Public Limited Company, listed on the Mumbai Stock Exchange. Camlin Ltd, is a diversified group of companies with multinational operations, having a range comprising of over 1000 products accepted well by customers in India and abroad.

Camlin and Camel are synonymous with art & colours in India. It has more than seven decades of technical expertise and State of Art manufacturing facilities. Camlin believes in offering good value for money to the customer. The focus on quality has also got the Art Material Products to conform to EN-71 Standards and the coveted ACMI Certification.

To celebrate the spirit of art, this non-profit organization holds four art exhibitions each year, in the Northern, Southern, Eastern and Western regions that plays host to more than 12,000 professionals and art students.

Camlin Art Foundation (CAF)

Camlin Limited has substantially contributed to the growth of art, artists, art appreciation and art education in India through Camlin Art Foundation. Launched in 1998, the objective of Camlin Art Foundations is to provide a platform for young amateur and professional artists to display their talent.

Besides getting an opportunity to display their work, the artists with the best paintings are also rewarded with grand prizes from Camlin. The entries, categorized into professional artists and art students, are sub divided by art media like oils, water, acrylics and mixed media.

Camlin Art foundation conducts four regional exhibitions in the country every year. One exhibition is held in each region. Over this period CAF has not restricted these exhibitions to metro towns only, but also held them in various other places of the country so that many artists and art lovers get the opportunity to see these exhibitions.

CAF has so far held 38 exhibitions. In these exhibitions more than 400 awards have been won by artists from various parts the of country. Close to 80 artists have won the national award of Euro Art Tour.

Over the past three decades Camlin have been associated with some of the very well known and talented artists of our country. CAF also has a collection of paintings of these artists.

This exhibition showcases some of the recent works of well known senior and young artists of our country, who participated in the Art Camp at Hong Kong / Macau.

19th February - 5th March 2009
"Openings And Culs de Sacs" Rajesh Ahlawat & "Repositories" Prasanna Ghaisas - 2 Solo Shows
Anybody can be emotional with a tool like a pencil or a charcoal. You can fake it or make it real, you can be emotional and you can be trite, but to have a range of emotions in just one specific drawing is something!

“Openings and Culs de Sac”

Rajesh Ahlawat, a self taught artist, comes from a back ground of the armed forces. Physically fit with a keen mind, his work reflects the constance of movement, travel, separation, new places, people, experiences.

Using only black and white, he goes to figuration to some extent after completely destroying it. His work is like a futuristic adventure, full of freedom (freedom of colour) a wild rhythm of a man who has learned the lesson of spaces, yearning and seeking, explosive, maintaining a crazy rhythm throughout. The floating forms hint at vortices and strong physical feelings, conveying almost a sense of vertigo not so different from ecstasy.

His works, in the genre of “Abstract expressionism” are painting out of his unconscious, where figures are bound to emerge. They are about a state of mind, a self discovery. “An opening and a culs de sac”.

“Repositories” Prasanna evokes familial when he adopts everyday objects - a stapler, paper punch, safety pin, because they felt right, like relatives. He never uses them as if they were props in a still life. On the contrary, he grants them primary status as if they were living, breathing matter – almost like models to draw from. Prasanna’s drawings demonstrate impressive skill in freehand drawing and are intensely satisfying as images.

They are essentially black and white and each has one of the three objects as its subject. Prasanna ekes out an astonishingly wide array of expression, mining form and function in the service of emotional metaphor, to maximum effect. He presents them first and foremost as lines which, by standing tall or bending or twisting around themselves, have the capacity to denote concepts far beyond the simplicity of their forms. They also impart an agreeable sense of order to the page, offering a kind of tidy sequence that tempts us with the promise of reason and lends plausibility to what is fundamentally a fiction.

Prasanna’s images are like new openings looking at ordinary mundane objects and elevating them to multifaceted symbols; to imbue and resonate within the object a new meaning, investing it with multiple layers. Each one becomes a container, a repository, that Prasanna fills and then uses as an instrument of communication with the viewer. Prasanna takes a stapler and isolates it from its functional content, letting it hang in midair. He turns these images into repositories of his own emotional state, but at the same time his viewers are seduced into projecting their own feelings onto the object.

7 - 17th February 2009
Approaching any work of art is very much a personal experience. It’s also a working together of emotions and reason. It’s a personal outlook, a unique point of view. And it’s yours.

There has been a significant acceleration towards the globalization of culture and creativity, in the processes of cultural exchange, the integration and innovation of artistic languages. The artists, on their parts, have intensified their persistent desire to experiment with new forms and tools. They explore art trends from the recent past to the near future. They look for responses and present not only vast, informative displays but work almost as laboratories for interpreting knowledge.

The Eight artists in this show, all working in what may loosely be called “New Media”; photographic images, photographs, digital images and almost digital images. It’s a coalescence of growing together of separate parts – a Concrescence

Ajay Dhandre

Bara Babu mahto

Pravin Kedar

Pritam Bhatty

Sanjay Yamgar

Shibu Arakkal

Shrikant Kolhe

Tikendrakumar Sahu

7th January - 31st January2009
"A Gathering" Group Show
A Gathering brings together works summoned by a group of artists, akin to a group of leaves taken together, one inside another, like in binding a book.

Preetha Kannan’s work is a relationship of the vibrations of colour. No isolated melody is heard. The whole is a symphony of the vital and ever changing natural life, buzzing, pulsating, almost to the point of enchantment. Into this enchanted world steps Manish Chavda with delicacy and deftness of his brush strokes, savouring the process of rendering a plant, a wild landscape or just some flora; an intuitive communion with the natural world. Viewing his work is akin to that of listening to music or reading a poem, one passage lingers in the memory and reverberates there as the eye passes on to the next, to Mogallan Shravasti and Shiladitya Sarkar, subtly transiting, the mood of uninterrupted reverie, gentle changes from soft washes to firm brush strokes, from diaphanous forms to sharply focused details. “It is all about being “says Minal Shah layering transparent images on identical portraits on all canvases. Her work talks about existence, entanglements, traffic of life, giving the viewer literally a visual ride.

A Gathering of a rich harvest by these five artists

Preetha Kannan

Manish Chavda

Mogallan Shravasti

Shiladitya Sarkar

Minal Shah

15 December 2008 – 5th Jan 2009
A group show of: CHANDA VAZE










22nd November - 2nd December 2008
"The Drawing Show"
Drawing is every where, we are surround by it – it is sewn into the warp and weft of our lives: We practice it as one of our earliest experiences as School children, and as parents we treasure the drawings made by our off - spring like nothing else. People draw every where in the world; drawing can even be used as global visual language when verbal communication fails. As adults we use it pragmatically to sketch our own maps & plans, but we also use it to dream – in doodles & scribbles. We use drawing to denote ourselves, our existence within a scene; in the urban context, for example, graffiti, acts as a form of drawing within an expanded field. Indeed, drawing is part of our interrelation to our physical environment, recording in and in and on it, the presence of the human. It is the means by which we understand and map, decipher, and come to term with our surroundings as we leave marks, tracks, or shadows to mark our passing. Footprints in the snow, breath an the window, vapour trails of a plane across the sky, lines traced by a finger in the sand – we literally draw in and on the material world. Drawing is a part of what it is to be human – indeed, it would be ridiculous to apply this statement to other, more specialized media, such as painting, sculpture, or collage, but some how applied to the medium of drawing, the idea is easier to grasp. Emma Dexter (Curator, Tate Modern)

Drawing has recently experienced renewal of importance in the art world & has rarely been as widely represented in exhibitions, art fairs & biennials as it is now.

All use drawing as a primary medium whether representational or abstract, small or large in scale, using only one line or rich in colour and pattern, drawings have a highly descriptive and meticulously detailed quality that is being explored by an increasing number of contemporary artists.

Extending beyond images traditionally associated with this medium, this show taken or to illustrate the complexity, variety, and relevance of the practice of drawing today.

Although the importance of drawing’s role has never been neglected throughout art history, it has rarely been given the attention it enjoys today. Drawing is no longer limited to the note book or the preparatory sketch, nor to pencil or paper. Drawing today is a mark- making process used to produce a line based composition; it ranges from monumental to micro, from conceptual to two dimensional, from black & white to full colour. Artist today are redefining and pushing the boundaries of drawing in fresh direction.

Drawings in various forms surround us in our daily lives; drawing has never been deemed “dead” by critics or artists alive and its relevancy and longevity has never been questioned.

For centuries and more - drawing has served as the most appropriate and effective means for immediately sketching new ideas or visions. It is by nature vibrant & experimental. And as we hope, the artists featured in this collection illustrate, that never before has drawing as an art form been more dynamic.

22nd October - 15th November 2008
"Alice in Wonderland" - Solo show of Minal Shah
My current series is both mentally and emotionally stimulating to me. After painting the same portrait idenctically on all the canvases, other subjects were painted onto it in transparent layers of oil colors. The overlapping subjects range from day-to-day physical experiences to emotional experiences. At some point, when the overlapping transparent subjects meet the underlying portrait, that is when and where a unique dialogue is born on the canvas. Buching several paintings together in a fram is in order to make it resemble to life, as life too is made up of numerous experiences and episodes.

“Alice in Wonderland” (or the portrait series as I like to call them) is all about being, how the experiences of life entangle around one’s existence and how still, an individual manages not to get lost in the traffic of life. Life seems to be an ongoing saga of maintaining one’s identity while riding the roller coaster ride of experiences. It’s the individual who gives meaning to life, and not the other way round. Likewise, ultimately it’s the portrait that rules my canvas, and not the layers painted over it that look more dominating at the first glance though. These layers are almost nothing had the portrait not been there. Very much like real life, the experiences are nothing if the individual is not there. The life long interaction between a human and his or her experiences is the central theme.

My style of coloring is something I associate myself quite closely to. Applying transparent layers of oil paints one over another is an exciting job in itself. Different parts of the painting play ‘hide and seek’ from underneath and around those layers of transparent colors, and thereby give a visual ride to the spectator. Thus it lives up to my belief that a painting shouldn’t be revealed in one glance, it must have some mystery to itself that can engage the viewer in joyful searching.

I feel and I think almost at the same time. Both while coloring and composing, I consciously or unconsciously seek balance. And I enjoy this entire journey of creating a painting.


6 - 18 October 2008
"Outward & visible signs of an inward & invisible grace" Group show of Chanda Vaze, Pritam Bhatty & Ratna Gupta
Galerie Roman Rolland, Alliance Francaise, 72, Lodhi Estate, New Delhi-65

Chanda Vaze went back to painting after 23 years and has made a huge impact with a sell out show – “It stays in your body like a fat deposit !!” She was referring to her relationship with art, the inherent talent, honed for four years at Sir J.J.School of Art, that lay dormant but simmering thought this long period of ennui.

Says Chanda “As suddenly as I stopped I began again. Getting to know a whole new generation of artists who were doing their own thing with such gusto, opened up something in me. Here were people who were breaking boundaries, traveling the world with their money (not waiting for grants from ICCR), using state of the art computers, cameras and equipment with ease. Not apologizing. Somewhere along the line my relationship with painting had healed. Once again I was willing to experience the thrill of the first contact of the brush on white untrodden canvas. I was willing to allow myself the thrill of recreating a random image of no great political consequence. I restarted a dormant relationship because it had stayed in my body like a fat deposit!!!”

Deep in the resonance of an inward journey Pritam Bhatty grapples with the paradoxes that crowd her life. Her painterly quest enters subliminal dimensions where the unreal strongly tilts into the real unleashing a stream of memories, events, fantasies, hallucinations and magical transformations. The fragility and strength of these shifting perspectives metamorphose the psyche and inundate Pritam’s creative matrix. Her painterly eye tracks these transformations within the inner and outer layers of her being. Working in water colours, charcoal and pencil Pritam captures the epiphany of the fleeting images that surface within her.

Ratna conceived these self casts with an acute consciousness of the construction of the female form as surface and image. She uses her own body as a starting point in bringing up perceptions of the feminine self. By turning her won body into her work, she is, in one sense, returning to the Renaissance aesthetic that held the body as the centre of the universe, but in the same gesture she also reclaims the objectifying gaze, making the body both experience and metaphor. Opting to cast her body as opposed to sculpting it, she uses it to take am imprint treating it as a repository of content memories, stories, the residual effects of time, age, and habits. The pain involved in the rather arduous process of casting contributes to the cathartic, sublimational aspect of this process of vitalization. The ritual of casting her own body mimics the larger desire for transformation/re-invention, the multi-fragements indicate an acceptance of seeing the self as many-minded and protean. By remaking / re-presenting herself she frees herself from her own image

In opting to cast her body in many fragments as opposed to sculpting it, Ratna speaks about vulnerability, retaliation and affirmation; she plays with the narcissistic gaze, while deliberately getting away from herself, looking at herself as an outsider. Pritam’s works enter spaces where the unreal strongly melds into the reality of fantasies, memories, events, dreams, magical transformations with the inner and outer layers of her being. In Chanda’s work surface the memories, stored like a fat deposit of images, moments, events to be savoured once again.

In all the working of these three artists what stands out is the outward and visible signs of inward and invisible grace.

22 - 28 September 2008
"Decoding the Labyrinth: The Journey Within" Solo show of Pritam Bhatty
Decoding the Labyrinth: The Journey Within

Deep in the resonance of an inward journey Pritam Bhatty grapples with the paradoxes that crowd her life. Her painterly quest enters subliminal dimensions where the unreal strongly tilts into the real unleashing a stream of memories, events, fantasies, hallucinations and magical transformations. The fragility and strength of these shifting perspectives metamorphose the psyche and inundate Pritam’s creative matrix. Her painterly eye tracks these transformations within the inner and outer layers of her being. Working in water colours, charcoal and pencil Pritam captures the epiphany of the fleeting images that surface within her.

In decoding the labyrinth of her inner and outer being Pritam Bhatty has empowered herself to tell her stories with dexterity and finesse. She now strides her world with confidence, understanding, and knowing the value of the compassion that follows the distancing of oneself from all the trials, triumphs and challenges that inevitably clutter our lives. With this body of work rendered in water colours, charcoal and pencil Pritam has opened the doors to a deeper perception of the inherent strength of survival and the liberating power of mastering the magical capability of weaving new myths.

Sumitra Kumar Srinivasan Mumbai

10 - 20 September 2008
"Looking Back" Anniversary Show
“Looking Back” has been a fulfilling experience. The overwhelming response to what we have exhibited on our gallery walls, has reaffirmed our belief in the Contemporary artists of today.

What is most interesting about Contemporary Art is the adventure – nothing is definite, everything can be questioned and will be questioned, at some point. Today, the visual is much broader than it used to be. The variety is so enormous. There is more engagement with culture and with art and more and more people are getting involved. The engagement enriches ones life, it enriches one psyche. There are now a great number of collectors, and the general public is more interested in art. Mainstream magazines are covering Contemporary Art in a serious way, and there is a broader awareness.


14th August - 26August 2008
"Point and Line to PlaneVI"
A Note about Abstract Art

Abstraction does not deal with objects or with effects or with images. It is a purely expressive art, one that excludes all the styles of the past and is a plastic art with only one purpose; to inspire human nature towards beauty.

“The creating force and the expressiveness of painting reside materially in the colour and texture of pigment, in the possibilities of form invention and organization, and in the flat plane on which these elements are brought to play.

The artist is concerned solely with linking these absolute qualities directly to his wit, imagination and experience, without the go-between of a ‘subject’. Working on a single plane as the instantaneously visualizing factor, he realizes his mind motives and physical sensations in a permanent and universal language of colour, texture and form organization. He covers the pure plane of expression that has so long been hidden by the glazings of nature imitation, anecdote, and the other popular subjects.

Accordingly, the artist’s work is to be measured by the vitality, the invention, and the definiteness and conviction of purpose within its own medium”

Man Ray 1916. The Forum Exhibition of Modern American Painters

Participating Artists

Achutan Kudallur Anjana Mehra Aniketa Deshpande Brinda C Miller Deepak P.Wankhede Kishore Shinde Ketki Pimpalkhare Laxman Shreshtha Hema Joshi Mehlli Gobhai Mona Rai Manish Pushkale Kamna Pushkale Nitin Agrawal Pandit Khairnar Prasanta Kalita Prajali Deshmukh Sunil Gawde Sheetal Gattani Sharad Sonkusale Santana Gohain Yashwant Deshmukh Vanita Gupta

14th July - 2nd August 2008
Making a Lasting Impression Group Show

23 June - 12 July 2008



Gallery Beyond 1ST Floor, 130/132, Great Western Building Shahid Bhagat Singh Road,Near Lion’s Gate, Fort, Mumbai 400001 Open Daily 11am – 6.30 pm- Sunday Closed Tel#: 22837345/46 www.gallerybeyond.in

26th May - 21st June 2008
"a - Drift" Solo show of Martin O C
a-DRIFT in the works of Martin O.C

My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question 'What does that mean'? It does not mean anything, because mystery means nothing either, it is unknowable. – René Magritte

The title of Martin O.C.’s last exhibition, held in Kochi in 2006, suggested the voyage of discovery that Martin had set himself out on. It was ‘Waiting for a New Vision.’ True, he was waiting for a new vision at that juncture, trying to break out of the stiff mold that was encasing his work at that time.

In his present works, Martin explores the meticulously painted surface. Water provides a backdrop for the appearance of different objects of odd shapes and colours. The presence of concrete, iron, rust and plastic, and the forms floating in a carefully treated surface of water is somewhat overwhelming. Unknown (and uncanny) organic and inorganic debris float beside the concrete and rusted iron. The play of light on the calm water surface creates an unsettling ambience. A certain mystery lingers over Martin’s imaginary dreamscapes.

The act of floating seemingly strikes a chord with Martin. During a recent conversation he had said, “Floating objects have always held my fancy; as if it is me that is floating along the stream of water. I like to think of myself as something that gets carried away by a current, an obstacle-less flow of water; let any chunk appear blocking the flow, and I feel clogged up.”

That is true. The sense of being adrift is very much there. And, Martin was in a mode of drifting for many years, having never completed his formal academic education. After completing SSLC, Martin joined for Pre-Degree (equivalent to Pre-University) at a private college in Thrissur, discontinuing which he got enrolled at a local art institute. In 1993, he joined the Govt. Institute of Fine Arts, Thrissur for the NDFA course, but was expelled the next year following a students’ strike.

Afterwards, Martin shifted between various jobs, which included sign board painting and the making of the statues of Virgin Mary and Jesus Christ for churches. During this period, he got associated with Theatre Eye, a theatre group which had occupied a significant space in Kerala’s recent cultural history. His involvement with theatre, mainly as a musician, had been a major formative element in Martin’s later evolution. After the Theatre Eye days, Martin became a performer-musician for almost two years, associating with ‘Me-and-you,’ a story-telling performance company for children conceived by Manu Jose, a leading theatre and TV personality in Kerala.

However, throughout his ‘drifting’ years, Martin had held onto painting with a stern obstinacy. He painted continuously. In 1997, Martin held his first solo exhibition at the Kerala Lalithakala Akademi Gallery in Thrissur. Since 1997, he had been participating in many group exhibitions held in Kerala.

In the meantime, Martin’s works have undergone a radical transition from the time he used to create thickly woven patterns of verdant greenery, something that was almost a stamp of the students of his short-term alma mater at a certain period of time. The works in his solo show held in the early months of 2006 contained many visual quotes from cinema, especially the Japanese master Akira Kurosawa’s ‘Dreams.’ In those works, he was attempting to create a space akin to that of fairy tales.

Later, the dreamscapes became more refined, clear. In the works included in the group show, Four Young Artists, held in Kashi in 2007, Martin started his exploration of the painted surface in a new direction. “I was taking a boat to Fort Kochi from Ernakulam. Suddenly, a rotten object came floating in the water beside the boat. It had an unbearable stink and all the people in the boat covered their nostrils.”

The floating, rotten mass appeared in a few more of Martin’s paintings. Soon, many other organic and inorganic forms too started making their presence. The dreamscapes still continue, being constructed of elements that seem to be too orderly, refined and elegant, yet turn out to be totally abnormal on closer inspection. They are there, yet they aren’t there!

Another interesting aspect of Martin’s present series of works is the total lack of human beings. The human beings are conspicous by absence. Yet, the human inhabitance is heavily evident in the form of the debris, the leftovers of destruction and construction; the remnants of human intervention.

In the later works among the paintings in this show, like in ‘White Bridge,’ the skyline of a city starts to make its appearance. The city is distant, and mysterious, like the surrounding waterscape. In ‘Evening Shadows,’ another skyline of a far-away industrial landscape looms against a dusky sky. The light falling on the steps in the foreground of this work augments the mood of the twilight.

Like the lone traveller, setting out into the unchartered territories, armed with the nameless urge to open up new realms of experience, Martin has taken the plunge into the unknown.

Therefore, a certain oddness lingers over all of Martin’s recent works. The oddness that we sometimes encounter while traversing through an early morning dream; a feeling that we have come across these scenes, or similar situations sometime before. A sense that has no verbal meaning; no explanation. Something, like Magritte says, that means nothing. Something that stays adrift.

Renu Ramanath is an independent writer and columnist based in Kochi who has been actively involved in the Kerala art scene for the past two decades. She has covered art and culture extensively for The Hindu as a Staff Reporter in the Kochi bureau from 1996, writing reviews and features in The Hindu Friday Review and Sunday Magazine.

11April to May 3, 2008
"It stays in your body like a fat deposit!!!" Solo show of chanda Vaze
I stood cowering at The Jehangir Art Gallery surrounded by my work. It was my third show after graduating from Sir J.J.School of Art. As I watched a whole lot of strangers looking at my work I felt completely desolate. The work was dark, touching upon a sense of alienation, loneliness and discomfort. People who were looking at it wore either a somber or a bored expression and I wondered where was the joy, either in my viewers or in me? Somewhere along the way through Art School, shows, participating or hoping to participate in different art events, I had lost the element of fun, light heartedness. Day in and day out I was locking myself in my studio, contacting my own negativity, pouring it out on paper, canvas and copper plates. Art had become an obsessive disorder for me. I was cutting myself off from life.

Rest of the time I apologized.

I apologized to friends for not going shopping with them. I apologized to family members for not going out with them. I apologized to senior artists when they did not respond to my work, I apologized to my artist friends when I sold my work. I apologized for not having strong socio-political views. For not having in-depth understanding of Marxist theories, feminism, poverty, state of the nation. I apologized because I loved Sholay and was not dependent on Art for my livelihood and I also apologized for the fact that my pursuit of Art was putting financial and emotional pressure on my husband. AND I was not about to apologise for truly wanting to enjoy my beautiful daughter, spend time with her rather than delve deep into the recesses of my complex pessimism. That is when, at the gallery surrounded by my work of long, lonely hours I decided that my life was going to be bigger than Art. I was not rejecting Art and the Art world; I was rejecting me, my relationship with Art. I rejected the growing feeling within me that if someone rejected my work they were rejecting me. I was offering a constant window to peep through to only that part of me which was more interested in being depressed than being happy. I did not touch paints or brushes for 23 years.

As suddenly as I stopped I began again. Getting to know a whole new generation of artists who were doing their own thing with such gusto, opened up something in me. Here were people who were breaking boundaries, traveling the world with their money (not waiting for grants from ICCR), using state of the art computers, cameras and equipment with ease. Not apologizing.

Somewhere along the line my relationship with painting had healed. Once again I was willing to experience the thrill of the first contact of the brush on white untrodden canvas. I was willing to allow myself the thrill of recreating a random image of no great political consequence. I restarted a dormant relationship because it had stayed in my body like a fat deposit!!!

I admit, unabashedly, that hoardings influence me. So does advertising, MTV, mainstream cinema, The Tango and the Salsa, and I am NOT apologetic anymore. I have enjoyed learning Yoga sutra as much as I enjoyed learning to jive (Tango is next). I have fabricated soap opera stories for my husbands TV production house and enjoyed doing ICSE projects with Chinu. I enjoy seeing a Fendi bag being carried by those who know fashion as much as I enjoy seeing “Waterlillies” and “The Pieta”. I love the Mumbai skyline. I love the work people do for street children in Mumbai. I love the way my city has a buzz about it, inspite of all odds. I love to hear “Strangers in the Night” when I do my Tango couples. Young people yearning for romance touches me. It finds its way into my imagery. All this, against the constant backdrop of the city and the mountains in the distance. Both neither wanting nor giving.

This show for me is simply learning to walk tall, to do what I love doing, to be whole. To do it with no apologies!


25th March - 8th April2008
"Venice Suite 2008" RAGHAVA K.K
The ‘Venice Suite’ series is essentially an expression of balance. It hovers in the tenuous space between the sensual and sexual and explores the equilibrium between reality and fantasy that exists in my artistic world.

I have always been fascinated by my ability to express what does not exist. As an artist, I have the privilege of depicting that which is authentic, which actually appears in the way I have shown it, alongside that which is imagined, created by my own mind. Both types of expression are equally strong in my work, and I enjoy the fact that they are able to coexist in harmony. In this series of work, I have attempted to play with this idea of reality vs. fantasy, using the symbolic language of two very different masks.

I chose to create this series using the imagery of the Venetian mask, as it is an object that evokes a multiplicity of emotions in me. It can haunt, inspire, and instill fear at the same time. I spent time in Venice in 2006, learning how to create this mask, and since then, have chosen to incorporate it into my artwork.

In order to give more depth to the idea of a fantasy world, I have chosen to use elements of story-boarding, bringing sketches, cartoons, and drawings into the scene. My fascination with the visual language of underground comics is also apparent in this series, in which there are several figures that seem to take on the personas of these comic heroes and heroines. Artistically, I have also attempted to push forward the limits of sensuality, using more daring imagery to evoke beauty and aesthetic pleasure.


5th - 19th March 2008
"Joie de Vivre" Fund Raiser for Save the Children India & Mobile Creches

19Th February - 29th February 2008
"Madness and Play" Solo show of Shrilekha Sikander
Madness and Play

Shrilekha has explored the billboard language of the cinema relentlessly; it is her favoured muse, most relevant to her in these, our modern times, devoted to pleasure-seeking and instant gratification. Celebrities, and cinema hoardings, neon lit advertisements are for her, structural supports of the toppling city, desperate in the task of chasing dreams, of posing for the song and dance number. The carnival spirit is perpetually desired every step of the way, suggesting that filmic terms of engagement are pre-eminent coherences which bind the collective of place and people.

She intuits her way into the mind-set of those in revelry and roistering and those caught in indecision and gloom. It is proposed that “all the world’s a stage and all the men and women merely players. They have their exits and entrances.”

Shri however, refuses to show entrance or exit for a population which seems to have had a primordial existence-in-disorder and one that is self-absorbed or fleeing, running on the spot and going nowhere. Her’s is not a tone of full-blown jokiness but of melancholia, indeed the way Shakespeare put it down with a poetic cutting edge. She trains her lens despondently, wryly, intimately at eyes, bodies, costume and emotions, a lens that pauses on bridge and building and its teetering expression in the palimpsest of an urban and segmented world.

Maybe, it has been a kind of eavesdropping for a period of several years and in which an envious wonder has provoked Shrilekha to produce this repertoire of goggle donning hero with gun, sundry villains, and stunt artists, gangsters in the ritual of bathetic burlesque, women actors, ceaselessly in pop dance pose, a gallery of rogues, disguised as Mughal courtiers and wily, bearded badshahs, from history books, holding wine cup and flower. These characters glare down from posters at aimless and ordinary folk. The cameo of the publicity image and citizenry is packed together in a frame that exudes intoxication; a cricket match or war is in the air, the release of a new film is imminent, murder in the neighbourhood – these can be headlines and news which induce mass hysteria and its discontents. A droll vision is complete particularly when courting couples, threesomes, and doubtful gender denizens dot the landscape with an ardour that finds its inspiration from the local film.

This time round, the watercolors are a fresh assessment of city mania; newer pages in Shrilekha’s digest of boom town observations. A montage–like view of social energy and dross of the metropolis is her hunting ground. She cannot ignore city personae or do without nabbing that face and feature in nimble figurative devices that bring out the acute expression and temper of fakery and subterfuge vibrantly.

The dystopia appears repeatedly as the central subject matter of her canvas; it is heightened to the level of pop registers in art: the poster, the calendar of affectation and deportment. The strategy is like improvisation, almost anarchic. The paint brush strokes in hues of vehemence, a neurosis spreading down mean streets. Her numinous, flowing sense of drawing makes light fun of typical characters as she teases out resemblances, drawing equally upon medieval sculpture, 16th century miniature paintings, and the currency of the popular cine-star.

Film actors, and performers of every kind, whether politician or holy man, or street cop, all are equally in the business of role playing. The played-out part is the definitive image which Shrilekha deploys in parody like tones to comment on behaviour. The clipboard of visuals is recycled as she surveys a transitional, heterogeneous environment in which a populace battles and survives. Her nuanced depiction of facial emotion and posturing is a way of arriving at formulae and setting up her own stereotypes engaged in ordinary and inane activities.

Film posters, the advertisements of merchandise are the largest and most dominant segments on her canvas. Their lurid yellow light spills out as vapour and touches every section of a media consuming society. The gun, morbidly phallic, provides the magical illusion of vigilance and protection. Glamour and histrionics freeze in comic strip frontality. They add up as a group of photo mementos.

Caricature and distortion do not find a place in Shrilekha’s figural reservoir of types but the modes of exaggeration pithily identify character type and context in which they are found.

Putting together collage like imagery of the city and connections between ordinary people and environs, she spells out chaos as though she is playing with all its causal elements. A confusion and noise mirroring itself in a fractured glass is dominated by the bombast of posers, self-appointed vigilantes, stars from the Bollywood film firmament and a host of pretenders, charlatans, bikers, builders, strollers, lovers and pedestrians on railway ramps. We are witness to a circus, the Indian kind where the hero and the powerful share centre stage. A preening stance on the proscenium, a dubious conversation under the shamiana – the scenes play with illusion and reality, time past and present till, they are indistinguishable as event or fiction.

Shri cajoles the viewer to ruminate and look, rather than reap an agenda of protest even as she projects urban malfunction and tosses up episodic pictures, which can be called photograms or sections of discontinuity – a segmented world, in which each fragment maintains its folly and independence as well. It is as though the artist were on a carousel that spun around endlessly, fostering the heady illusion of circling the skies. The orbital, imaginative journey made her come back, again and again to her prototypes Mirroring a dynamism and contradiction or, what is called a ‘psychogeography’ by writers - is a challenge for Shrilekha particularly, when she shifts from depiction of reality, to disjuncture through the metaphor of the stage and the cinema and its method of jump-cut story-telling.

She has no incident to recount and no programme of action. She seems to be revealing an archive of whimsical documents. An unanchored mixing of portraiture modes occurs with flamboyance; the scale of faces is varied according to academic drawing but the illusions of the vanishing perspective are ruled out. The picture almost sabotages the Akbari court miniature paintings even as it adopts the non-hierarchical, vertical perspective of the art producing karkhanas and guilds of yore. Groupings and arrangements of people follow patterns from such classical art, yet the congregational air is one that is derived from an audience, tittering away in cinema and nautch halls, listening to a youth music band, attending temple satsangs, or those glued to a rustic lavani chorus performing in a sports field of the megalopolis.

Within the disassociated space of an urban residence and work place, these historical references blur with the contemporary slice of life, intervening like a series of Hamlet’s ghosts who tell a cautionary tale of civilization, decay and the promise of humanism - redeeming signs for a future and a vast, transparent open space.

Perhaps the wisdom behind the terse saying that progress is “two steps forward and one step backward” is appropriate to Shrilekha’s inventory of billboard sketches. At the moment, they pulse with ferment and the movements of people running or stuck at transit points: the cinema hall, the chai stall, the juice vendor’s vestibule with fruit and colour co-ordinations, the psychotic convergences at the railway platform, the concourse at a park and mall, the tourist onlooker on the road, the bleak and alienated international war zone, the local street fight, the court of law, the mujrim or the accused and the menace and nexus of police-underworld-neta. The protagonists, encounter advertising bludgeoning, television banality and seductions of goods and services, the main, being that of entertainment and consumption, gushing forth from street banners as a form of redemption and key to being a successful wo/man.

Shrilekha, in her delineation of faces and behaviour fosters a critique of a dysfunctional and anomic societal space related to the wish fulfillment and predatory film world. Her project is to reiterate the swaggering myths, of a cine-city like Mumbai and re look at the world of pretence, shine, sizzle and hidden persuasions along with the undercurrents of floating anxiety, fear and doubt.

An artist, it is seen, can adopt the anthropologist’s surveillance and astute gaze of scrutiny.

ROSHAN SHAHANI December, 2007

ROSHAN SHAHANI is an art critic and a research-writer for Hindustani music and the cinema.

17th January - 2nd February 2008

From time immemorial right up to the present day, expression in art has been based on the human form. Be it a cut-rock, wall paintings, frescoes, sculptures or simply paintings, they have almost always found their bases in the human figure.

While human physiology remains unchanged; the artist’s view of the human form in terms of how to relate art to reality, has undergone a metamorphosis from age to age in keeping with the cultural language of the time. Thus the natural expression of the human form in art is controlled by a socially constructed nature of reality that is, culture, which again is varied through time and place. For instance, the Western way of portraying the human form is very different from the Indian way. The west equates reality with the world as perceived in the ordinary working state. It denies credibility to realities, which are perceived in other types of awareness.

On the other hand, the Indian perspective dismisses the physical world as “Maya” – the illusion. It considers reality as something beyond the physical frame of the body. It goes in search of the ‘essence’ of reality. In India the human form could be a myth, a metaphor, or merely a symbol. From the fluid rounded Harrapan torso to the elegantly being Apsaras of the Ajanta; from the dancing forms of Tanjore wall paintings to the sharp and angular faces of the Jain miniatures; and from the fish-eyed females of the Pahari paintings, to the folk inspired forms of the Kalighat Pats ….the contemporary Indian artist indeed has had a rich heritage to harvest.

This Collection has been created not to fit a particular theme. Instead, it merely represents what the artist has created, with relevance to the thematic concept. Hence, the collection is free from any preconceptions whatsoever; that is, seeing the work, and selecting it have both been based on its quality and not relevance to the human form..

Vibhuraj Kapoor, Gallery Beyond

29 December'07 - 14 January'08
"Reverie" Solo Show of Kakoli Sen

26th November - 8th December 2007
"Dreamweaver" Solo show of Preetha Kannan

12th November to 22nd November2007
Elements of Nature by Tazim Jaffer
An Art of Spaces in Motion, Landscapes of Emotion and Cultural Migrations.

To Understand Tazim Jaffer’s art one has to understand the Global Village. She travels with ease from the USA to Asia, Africa and Australia, imbibing the flavour of different ancient cultures in a modern situation. On the one hand, there is a specificity of process in her works, with elements drawn from different cultures coming together in a space determined by her that could be landscapes to a European eye, sacred sites to an Asian and dream time to tribal and aboriginal people.

From another angle they represent no more than an organization of colours, forms and textures in two-dimensional space coming together at a moment in time, a moment significant in the artist’s life that reaches out to the viewer as an interaction. And this interaction may transcend another sphere of activity as a transaction between a gallery owner and a collector.

Good art is that which is valid in each of these spheres. In Tazim’s work one sees elements of many different pasts strung together as the collective washing of mankind. One can see in the same work, fertility symbols of tribes jostling with scraps of saris, handspun or chiffons, challenging the surface of the paper with a spreading of diaphanous wings like trapped insects. But beyond these insects we are confronted with layers of pigment replaying ongoing histories whose beginnings are as obscure as their future. But there is a certainty about the presence of flowing lines and colours that simulate great movements like those of geographical phenomena like storms, floods and earthquakes.

Indeed, geography is central to her expression as is evident from her photographs of sand dunes and beaches whose immobile and minimal skin is full of barely visible undercurrents that make them human, for it is the human eye and the human hand that give them their final shape. So they are as much a reflection of the human spirit as they are of natural phenomena.

Indeed, it is this underpinning of the human essence that gives her works their emotional quality allowing the distinction of the inner and outer to melt in the process of creation. It is this element of creating a new form of life that gives her work its originality.

A new form of life is not easy to create; but Tazim is well-trained for the task. Not only has she trained as a Bachelor of Fine Arts from Youngstown State University in Ohio, USA; but has got a Master’s degree in Visual Anthropology from Kent State University, also in Ohio. So we can see clearly why her works are deep-rooted and yet mobile both in time and space. True, they reflect her peripatetic existence across continents; but more than that, they reflect the way she weaves differences into harmonies that evoke the unity in diversity that characterizes our world today. In these works of hers one sees cultural migrations of visual elements that simulate the melting-pot of cultures the cities of the world are today.

So, for all the remoteness of the places she chooses to photograph and the exotic nature of the visual symbols she weaves together, her art is the metropolitan visual expression of the global village, which is not a village at all. That is why for all its complexity, people all over the world can relate to her works with ease and access worlds unknown to them with a sense of spontaneous familiarity that is uncanny.

Suneet Chopra, Art critic, writer.

23rd Oct - 11th November 2007
"Khajuraho Revisited"
Shakil Saigol's works of Watercolour, Gouache, Pen & Ink on paper.

15th to 27th January2007
"The Venice of the East" Kerala Series
Recent Works by Yashwant Shirwadkar. All the works are Oil on Canvas

2nd January to 13th January2007
Recent works of S.G.Vasudev carried over from Jehangir Art Gallery to Gallery Beyond

20th to 30th December2006
Works by S.G.VASUDEV at Jehangir Art Gallery - A/c Galleries 1,2 & 3. continued

4th - 13th December2006
Recent works by Nimisha

5th December to 18th December2006
"In the Shadow of the Anti-Nimbus"
Recent works by Rahul Vajale

21st November to 2nd December2006
Works by Badrinarayan, Bhupen Khakkar, Biswapati Maity, Jogen Chowdhury, Shyamal Dutta Ray, Suhas Roy, Sunil Das & T.Vaikuntham

25th September to 7th October 2006
Recent Works of Prakaash Chandwadkar
Mixed media on canvas, works by Prakaash Chandwadkar from Nepal

11th September to 23rd September 2006
A Photograpic Exhibition" by Amol Nanl

19th August to 2nd September 2006
Recent works of Prakaash Chandwadkar (continued)
A solo show displaying the recent creative endeavours of Nepal based artist - Prakaash Chandwadkar. This was held at our associate gallery "DUSK" in Bandra - (West), Mumbai, India

26th September to 11th October’06
Recent works of Prakaash Chandwadkar
A solo show displaying the recent creative endeavours of Nepal based artist - Prakaash Chandwadkar

11th September to 23rd September’06
Ye Hai Mumbai Meri Jaan
A group show by various artist at the Lalith Kala Academy. New Delhi and at the Art Konsult curated by Gallery Beyond

14th August to 2nd September 2006
Dual - A photographic exhibition
A first ever solo show by Amol Nanal

19th August to 2nd September 2006
Recent works from the Oberoi Art Camp -2006
A group show diplaying the recent works of the Oberoi Art camp

1st August to 15th August 2006
Oberoi Art Camp 2006
Our annual Art camp at the Oberoi Group of Hotels - Mumbai.

20th July to 31st July 2006
Works in a large Format
A group show of Various Artists

20th June to 5th July 2006
Urbanium Mundanius
Recent photographic installations by Munir Kabbani

6th June to 20th June 2006.
Images of the Earth (continued)
A solo show by Shamendu Sonawane carried forward from Museum Art Gallery to Gallery Beyond.

29th May to 5th June 2006
Images of the Earth
A solo show by Shamendu Sonawane at the Museum Art Gallery sponsored by Gallery Beyond

22nd May to 28th May 2006.
Recent works of Preetha Kanan (continued)
A solo show by Preetha Kanan carried forward from Museum Art Gallery to Gallery Beyond

8th May to 20th May 2006.
Recent works of Preetha Kanan
A solo at the Museum Art Gallery featuring her recent works. "Preetha's buzzing pulsating world seems to express a sensibility fascinated almost to the point of enchantment." - Bernadette da Cunha-06

2nd May to 7th May 2006
Summer Rites
A Group show featuring various artists

26th April to 6th May 2006
A Triad of Minimalists
A Group Show featuring Vilas Shinde, Sheetal Gattani and Satish Wavare

10th April to 22nd April 2006
Solo Show - Pritam Bhatty
A solo show featuring Pritam Bhatty- Works from 2003 - 2005.

28th March to 8th April 2006
10 More Living Legends
A Group show featuring various artists

13th March to 18th March 2006
10 Living Legends- A Group show
A Group show featuring 10 artists

1st March to 10th March 2006
Paper Wars
A Solo by Anjana Mehra

4th February to 27th February 2006
A solo show by Anu Agarwal

23rd January to 3rd February 2006

130/132, First Floor, Great Western Building, Shahid Bhagat Singh Marg, Fort, Mumbai- 23      © All Rights Reserved  
|  Authenticity Guarantee  |  Privacy Policy  |  Disclaimer  |  Copyright  |
Site By: Steve Lewis