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Title:        "Waves and Us" Works from the workshop at Goa in June'10

Dates:      July 1 – 15 August’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.

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