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Title:        "Openings And Culs de Sacs" Rajesh Ahlawat & "Repositories" Prasanna Ghaisas - 2 Solo Shows

Dates:      7 - 17th February 2009

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.


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