MUSICAL LINES AND MELODIOUS HUES

NAGUESH  RAO  SARDESSAI

“Music in the soul can be heard by the universe.” Thus said Lao Tzu.

Harshada’s Art Gallery, Miramar, is resonating with melodious sound of classical instruments and harmonious rhythm that emanates from the paintings of noted artist from Belgaum, Baburao Nadoni, whose solo show titled ‘Rhythm’ is currently on view.

These paintings are the voice of his soul that is filled with creative excellence, sensitivity and honesty. Quiet and soft spoken, Baburao is an avid music buff with an ability to play several musical instruments such as flute, sitar, organ besides percussion instruments. Influenced and enamored by the intangible yet very structured pattern found in the Indian classical music, it was natural for Baburao to steer towards Abstract genre whilst practicing painting.

Equally exemplary in realistic genre, Baburao’s forte is photo realistic portraits. The current show has a near life-like portrait of His Holiness Sri Sri Vishwa Vallabha Tirtha Swamiji, Pontiff of Sri Sode Vadiraja Mutt, Udupi. This portrait goes beyond the physical and exudes spiritual glow.  Besides this, he has put on display portraits executed in varied styles that include few exhibiting academic approach whilst other pieces bring to fore Baburao’s skill at rapid sketches and public demonstrations.             

Master in Visual Art from the Kannada University, Hampi, Baburao has huge list of accomplishments to their credit. He is a senior lecturer at the Shri. Vivekanand College of Fine Art, Raibag, Belgaum and visits several art institutes as guest lecturer. 

Stylistically and primarily practicing abstract genre, Baburao transplants the nuances of the classical music on to his canvas. He speaks through the deft strokes, supple lines, vivid hues, subtle texture and incoherent yet significantly identifiable forms. These highly stylized, semiabstract forms tease the representational figures they ostensibly relate to, only to steer the viewers into individual comfort zone.

Swift vertical strokes marked with broad flat brush get embellished, at few places, with fine lines and quick blobs of pigment. Vertical form mutates into sitar, or even coconut trees or at times into a flowering plant. Living in the rural setting with nature as company, it’s obvious to find elements from nature and other suggestive elements popping into Baburao’s pictures.

One can witness magical drama and musical intonations whilst viewing Baburao’s paintings that are washed with soft pastel hues intermittently interjected by warm reds, ultramarine blue, lemon yellow etc.

 

When not practicing sitar or flute, Baburao plays music with line, form, hue, and texture etc. Maintaining rhythm and achieving harmony through elements of art is his primary motto. He paints to spread pure joy and happiness.

 

Receiving Karnataka Lalitha Kala Academy Award at a very young age, Baburao went on to win several noted commendations that includes national award from the South central zone cultural centre, Nagpur; Suvarna Karnataka Special Award from the Karnataka Lalitha Kala Academy, Bangalore and Dr. Ambedkar fellowship national award, New Delhi.

He has been an integral part of several art camps and group exhibitions besides holding his solo shows across various cities in India. He is the life member of prestigious Bombay Art Society; founder of C.R.R.A. Education Society, Raibag; member of the Governing Council of Kuvempu University, Shimoga; and the ex-member of the Karnatak Lalit Kala Academy, Bangalore.

The current show has 20 medium sized works on display.

The show will be on till May 3, 2014.

RETICENT AND ELUSIVE - FRANCIS

(photo courtesy: flickr.com)



NAGUESH  RAO  SARDESSAI


‘We dance around in a ring and suppose, but the Secret sits in the middle and knows,’ said American Poet, Robert Frost.

Francis De Souza, wise and inquisitive as a creative person has to be, began his journey towards the core of his being long before it became a fashion of the contemporary world. Francis De Souza has come out with his latest creations that exhibit his journey into the sacred space of his inner self.
Gallery Gitanjali, Panaji, is hosting a show of his latest paintings at ‘Panjim Pousada’. Titled ‘Sacred and Profane’, the works seemingly present a part of that journey and throws in the public domain the intangible impressions.
Reticent and elusive, this highly refined contemporary artist from Goa has consistently produced apparently obscure looking works that hold profound connotations. Primarily a spiritual oriented person with vast reading and inclination to delve deep into the mystical domain, Francis caught up with the teachings of Nisargadatta Maharaj, Ramana Maharshi and many more before getting enamored by the writings of Peruvian-American author Carlos Castaneda.
‘My Paintings,’ says Francis, ‘are essentially an inner journey with all its smooth running, conflicts and battles.’ True as it can be, Francis is a true ‘Karmayogi’. Creating a work of art, for him, is basically a journey, which he enjoys with no strings of expectations attached.
‘Crucifixion’ as a theme engulfed his being and began to flow on to the paper. This show is the outcome of that spontaneously evolved creative call. Be it a Divine intervention or simple subconscious outpouring, the latest works are enlightening.      
‘The imagery is only incidental and not subject oriented,’ explains Francis with an intention to guide the viewers into his creative world. Jesus Christ is more than a mere divine being in these works. It is, in Francis’ works, a catalyst to instigate an independent process of exploration.

His process and visual vocabulary is seemingly disjointed, nonlinear yet follows a random path that remains dormant and veiled. Off late, German visual artist, Gerhard Richter has influenced him a lot, especially his nonconformist attitude.   
‘There is an element of uncertainty, the sense of completion is held in abeyance,’ explains Francis. This element prods him to explore and experiment on the lines of Gerhard. Unpretentious and naturally oblivious of the critical standards, Francis prefers to follow his instinct and be a spectator in the process of creation whilst in the midst of exploring his inner self. He merely gives a tangible ‘outward’ shape to the intangible ‘inner feelings’.
The Christ in his works exudes a lyrical aura. 
Combination of semi abstracts with stylized and figurative adds visual variety and exhibits Francis’ oeuvre. 

Francis has participated in several artist camps and feted with several awards that includes State Art Awards and A.I.F.A.C.S Award.
Francis seems to follow Russian writer, Leo Tolstoy’s profound words where he says, ‘Without knowing what I am and why I am here, life is impossible’.

The works were on view till March 31, 2014.

FATHER'S DAUGHTER

NAGUESH  RAO  SARDESSAI

Karishma Maendra Alvares is set to carve her individual identity and move out of her famous father Maendra Alvares’s shadow.
Karishma is showing her drawings at the Art Gallery that is a part of famed ‘Ancestral Goa’ at Loutolim.
Maendra, a commercial art graduate from the Goa College of Art, Altinho, encouraged his daughter’s interest in art and guided her during the course. Pursuing her education in applied art from the Goa College of Art, Altinho, Karishma showed signs of creative abilities and artistic leaning from the high school years.
Having won several awards during the course, she got motivated to hone her skills and refine her creative output. Observing her father, Maendra, brain behind the famed ‘Ancestral Goa’, a mini Goa that exhibits Goan Art, Culture and Environment, Karishma feels motivated to carry on and be of utility to the society.
Socially conscious, she opened her show in the presence of children from the slums. Having started an informal social service unit named ‘Circle of Hope’, Karishma intends to build on it and reach every underprivileged person in the society.
‘I want to bring hope and reasonable level of comfort in their life,’ say Karishma in a emotionally charged voice. The proceeds from the sale will go to ‘Circle of Hope’ and help serve her noble purpose.
Having put up twenty-one works to mark her entry into the twenty-firsts year, Karishma’s ink and acrylics paintings are an example in neat stylization and composition.
Influenced by folk art and raw element in such art forms, Karishma has successfully adopted this character in her works. Mainly focusing on Goan life that includes aristocrat woman in her royal pomp, fisherwoman with the catch, and she has covered several other aspects.
Few of her religion-influenced works stand out for their uniqueness and secular approach. Christ as Lord Krishna, and Mother Mary full of compassion are few of the works that leave an impression.
Mosaic and stained glass elements are visible at times with lyrical but sure lines delineating every form and collectively building a composite whole. Apt hues and application adds interest and appeal.
Karishma has participated in several group shows and recently won an award at Goan Shutterbugs' Capture the Emotions Photo Contest.

The show was on till March 10, 2014.

PAFULLA TAI - A GOAN CREATIVE GEM

 NAGUESH  RAO  SARDESSAI

‘Space and time are interwoven with each other. Space is unending and timeless. It cannot be destroyed. It is eternal. I find it deeply spiritual. The artist in me strives to depict it through paintings. And that is my eternal space,’ said Prafulla Dahanukar, leading contemporary female painter, whilst explaining her paintings titled ‘Eternal Space’.

If space, which Prafulla strived to depict, through her abstract paintings, is unending, timeless and eternal then Prafulla, as an artist, has effortlessly merged into that fathomless, mysterious expanse of space leaving behind a legacy of artistic wealth and a huge amount of goodwill. Her contribution to the nurturing and growth of artistic sensibilities within the Goan populace is commendable.

She was on board of the ‘Kala Academy – Goa’ for more than three decades and along the way enriched the premier art and culture institute with her valuable guidance and inputs. A pillar of strength and a guiding light for several artists from Goa, she made it a point to take special interest in the promotion of Goan talent in the rest of the country.

If Goa can be called the ‘Cradle of Art’ then Prafulla’s birth, here in this land, cannot be an accident. Having spent her younger days in Mumbai, after her birth on the 1^st of January 1934, Prafulla completed her training in fine arts from the prestigious Sir J J School of Art in Mumbai with a gold medal. This was followed by a silver medal for her painting in the Annual Exhibition of the Bombay Art Society.

Government of France awarded her a scholarship to study fine art in Paris in 1961 after which she returned back to India. She followed her return with several solo and group exhibitions.

However, Prafulla began to shape her artistic career and making a mark on the international scene whilst, still studying, in Paris where she held an exhibition of her paintings. And since then, she participated in many international art shows in Germany, England, Hungary, Australia, Japan, Portugal, Iceland, France, Switzerland and several other places. The High Commission of India sponsored her first solo show, in London, in 1978.

With more than fifty one-woman shows, several prestigious awards, success at noted auctions that includes Osean and Sotheby and works in private and institutional collection such as at the National Gallery of Modern Art, New Delhi; Prince of Wales Museum, Mumbai; Lalit Kala academy, New Delhi and Central Museum, Nagpur; Prafulla remains the most passionate and idolized Goan woman artist.

Looking beyond her personal interest in particular, Prafulla worked for the whole artist community in general and served their cause. She was on the committee of the Lalit Kala Academy, New Delhi from 1974 to 1979 and the President of Bombay Art Society for from 1993 to 1998. She was the trustee of the Jehangir Art Gallery for four decades and President of the Art Society of India and the Chairperson of The Artists' Centre, Mumbai.

Murals created by Prafulla adorn many prominent buildings in Mumbai, Pilani, Kolkata and Muscat (Oman). She is recognized for these stunning murals created employing ceramic, wood and glass.

Besides being a visual artist, Prafulla took keen interest in music and its development. She was one of the founder members of Sangit Kala Kendra with late Shri Aditya Birla and was a committee member of the Music Forum. She was on the Board of Trustees of the Indian National Theatre.

The members of the 125 year-old Institution the Bombay Art Society turned up in huge numbers to vote in the entire team headed by Prafulla Dahanukar with a thumping majority in the month of May 2010. She was recently honored by Jehangir Art Gallery, Mumbai by sponsoring her retrospective.

A feisty woman with zeal for life and deeply philosophical approach to art, music and life, Praffulla had a very humane side as well. She worked for the underprivileged and disadvantaged through an orphanage called Bal Anandgram in Lonavala where she remained the main trustee.

‘Her intensity comes across in her works which she considers to be an extension of herself – her moods, her perceptions, her personal philosophy as it has evolved over the years,’ says Dr. Sarayu Doshi.

True. She’ll remain in the empirical world through her works of art and inspire the generation to come to work with passion and intensity. 

ANANT VIKAS JAIN'S 'SPANDAN'

NAGUESH  RAO  SARDESSAI

Anant Vikas Jain is back again with second edition of ‘Spandan Goa’ bringing some interesting works of art created by aspiring as well as established artists from across various states of India.

Showing at the Art Gallery of Entertainment Society of Goa, Anant Vikas revels in dabbling in art and allied subjects. This serial entrepreneur and art enthusiast hails from culturally rich and colourful state of Rajasthan. Having graduated in commerce from Kolkata, he immersed himself in running various business enterprises accumulating vast experience and achieving enviable success. With over two and a half decades of entrepreneurial experience and having business interest in gems & jewellery, diamond tools and power tools, Anant Vikas is currently organizing events and exhibitions with an aim to promote art and artists.

Having recently made Goa his base, he works with artists from across the country and endeavor to showcase their talent with an aim to boost their career and attract commercial success.

From providing a platform for young painters, sculptors and photographers to organizing private exhibitions for renowned artists across India, Anant Vikas intends to bring a cultural synthesis. ‘Just as there is a need for religious and spiritual leaders in our community, there is also a need for artists,’ says Anant Vikas in admiration before adding, ‘The artists help us step outside of ourselves and experience the world from a new perspective.’

Twelve artists from across the country, that includes three from Goa, will be collectively showing fifty of their art works. Suresh Buddha, Cheerattan, Suresh Koothuparamba and Anirudhan Ettuveettil from Kerala, Manishek Gupta and Shalini Jha from Mumbai, Era Tak from Jaipur, Vidya Lakshmi from Tamil Nadu, S B Shariff from Hyderabad, Sujatha, Ninoshka Nadia Dias and Shweta B. Satardekar from Goa are showing their creations.

Suresh Buddha’s finely painted leaves in various states of compositions are pleasing. Manishek, currently working as assistant art director in films in Mumbai does include period forms in contemporary settings loaded with recent issues. Ninoshka’s Portuguese influenced Goan windows bring back the drifting world of Portuguese era into focus. Shalini’s realistic work adds freshness. Cheerattan’s unusually composed yet neatly executed work fits in the contemposrary genre. He makes very poignant statements and infuses cinematic appeal. Shweta and Sujatha’s women centric paintings speak of their preoccupation. They have together, successfully, managed to articulate their views. The rest of the artists have done justice to their art and the exhibition.

‘Through art, we explore the essence of truth and consistency, reminding people to work with nature and love,’ is what Anant Vikas states with a view to spread this message, which is the need of the hour.  

Besides art exhibitions, Anant Vikas organizes various other events across India such as shopping festivals, trade fairs, brand activation, workshops, summer camps and social events for special kids.

Spandan show, in April this year, will go to Jawahar Kala Kendra, Jaipur as  ‘SPANDAN Jaipur’.

The show in Goa will be inaugurated today at 11.00 am.

The works will be on view till March 3, 2014.

ASHARANI'S RURAL IMAGES

NAGUESH  RAO  SARDESSAI

 

Asharani Y B is back again in Goa with her latest creations that are subtly different and qualitatively more refined. She’s currently showing her works at the ‘Harshada’s Art Gallery’ at Miramar.

Armed with master’s degree in fine arts from Vijaya Kala Mandir, Gadag, soft-spoken Asharani does hold on to the cultural roots and that reflects in her works.

Asharani is coming from a district in Karnataka that has rich in art and cultural wealth. The famous Hoysala temple in Belur, architectural monuments in Halebid and the more famous Jain pilgrim centre -Sravanabelogola are a few examples.

It is but natural for her to gravitate towards art and make a mark. In Goa with her contemporary works that have a ting of folk and miniature element in it, Asharani has beautifully captured the essence of rich heritage housed in her district.

‘Reflection of Moods’ has on display, ten medium sized paintings with predominant female forms coyly posing within the picture frame. The whole demeanor of these forms reflects grace and decorum inherent in our culture. Asharani’s paintings make a larger positive statement about the cultural ethos as well.       

Using figures and representative forms, Asharani does realistic works with women as her protagonist. Preoccupied with the subjects that deal with relationship that spans various other live species with human beings, she laces the same with poetic twists and colourful hues.

Giving a contemporary twist to her paintings, Asharani has managed to bring the miniature nuances into these compositions without diluting the essence of modern vocabulary. Birds and human figures have a symbiotic relationship in her works that add a humane touch and holds universal appeal.

  

She is documenting, in a way, the traditional lifestyle and elements. Moon and flowers remain regular features in her works. Each of the forms are embellished with rationed and subtle decorative patterns that remains inconspicuous yet add appeal to the pictures.

Couple gazing in at the eternal space, in one of the paintings, with moon for company displays hope and dreams; whereas, woman, chirping bird and moon in another work speaks of the man-nature relationship.

Asharani employs pleasing hues and neat brushstrokes. Her works are connoisseurs delight.

Besides attending various art camps and having solo shows to her credit, she has won awards for her paintings at the Dasara Art exhibition in Mysore and Tasmiya Art House exhibition at Shahabad. Besides this, Asharani has been decorated with various noted awards such as Savitribai Pule National Fellowship award, Delhi; 24^th All India Lokmanya Tilak Art Exhibition, National Award and many more.

She is bestowed with Karnataka Lalit Kala Academi Fellowship as well.

Asharani’s works are in private and institutional collection in India and abroad.

The current show will be on view till February 28, 2014. 

ART INSPIRED

 NAGUESH  RAO  SARDESSAI

‘Art Inspired’, an amorphous group of artists that is open to expansion, has recently organized an exhibition of art works titled ‘Chitrasangam 2014’ at the ESG Art Gallery in the INOX courtyard, Panaji.

Ten enthusiastic artists with varied educational and professional background have united to showcase a truly pure confluence of diverse ideas, concepts, styles, ideologies and efforts – as the title of the show suggest.

They have given collective approach a new ray of hope. Bringing assorted genre and seemingly paradoxical and unconventional art pieces under a single umbrella with a view to consolidate the collective social standing of artists remains the primary aim of this newly formed group.

Led by Damodar Madgaonkar, the brain behind this group, the exhibition showed the works of Cassica Castelino, Clarice vaz, Julius Rocha, Mridula Shanbag, Prerna Neelavar, Medha Monteiro, Shammiulla Sayyed, Sunil Shirodkar and Antony Mascarenhas

Spiritual to downright terrestrial, realistic to surrealistic, representational to abstract and philosophical to comical – one can find multiple approaches to art in this current show featuring these enthusiastic and refreshingly approachable creative minds.

Each of these artists has given space to their dormant feelings through the displayed works. Cassica, the lone academically trained artist in the group, and Damodar endeavors to tap the subconscious and uncharted realm. Spiritually oriented Cassica infuses her paintings with uplifting messages. By painting the canvas with serene and meditative scenes that idealizes beauty and idealism, she intends to increase the pulsating frequency of the surrounding as seen in one of her painting titled ‘Lavender Field’. Damodar grapples with the world of dreams and attempts to give pictorial shape to the mysteries hidden in the subconscious. ‘Dream Of The Desparate City’ has all the fantastic forms dancing randomly over the canvas to create a visual orchestra.

In ‘Perception Of Freedom’, Medha captures the essence of Goan architecture and touches upon the fundamental character of human beings. ‘Among all the God’s creations, only man has made cages for himself and others,’ says Medha before adding, ‘and now seeks freedom and happiness.’

Prerna’s metaphor laden canvas makes a poignant observation of irony that life throws up from time to time. Dreams, at times, grow far bigger than what is practically manageable. Man, as in ‘Contrast’, is holding the pinpricked balloon sporting a grim expression.

Senior citizen Mridula displays ingenuity and passion. She is a nature lover and does explore the stunning beauty in this God’s creation. Her work titled ‘Man In The Boat’ produced during her college days is a fine example in deftness and keen sense of observation. Apt hues and neat composition adds charm to her works.

Anthony uses graffito technique by which the artist makes a deliberate mark by scratching or engraving on a large surface such as a wall. Her he does on the paper and canvas. Anthony’s work titled ‘Old Warhorse’ displays uncertainties and lifetime struggle of an old man.

Shammiulla is a noted professional photographer and creative artist who dabble in spontaneous paintings. Deeply committed to protecting natural wealth and an extremely upright individual, Shammiulla has displayed a tapestry of bright green leaves developed by the usage of palette knife. The works reflect his photography background.

Julius does speak of the problems looming over mankind like wars, famine, poverty etc. A religious person, he attempts to highlight the plight of the downtrodden through his paintings and wishes to bring about awareness in the people and motivate them into action.

Sunil preoccupation with the social ills like gambling and dhiryo (bullfight) prods him to paint them in his independent way. Work titled ‘Dhiryo’ reflects the passionate and deft brush strokes of the abstract expressionist. An installation that is made out of a discarded fuel tank of two wheeler bike and satin cloth brings alive, albeit in a stylized form, the bull used in the dastardly yet passionately watched ‘Dhiryo’.

Members don’t harbor vague hope of bringing in a paradigm shift in the approach towards pure art; however, the originator of this group has introduced a novel and democratic idea. Certain percentage of the sale amount will accrue in a collective pool before getting uniformly shared amongst the exhibiting artists.

KAMA THROUGH KALA

 

NAGUESH  RAO  SARDESSAI

“The mystery of human existence lies not in just staying alive, but in finding something to live for,” thus said Fyodor Mikhaylovich Dostoyevsky, Russian novelist, journalist, and short-story writer.

Dilesh Hazare’s ‘Purusharth’ – an exhibition of paintings and sculptures at the Kala Academy, Goa – explores the profound truth that remains the cornerstone of human existence. 

Hinduism, the oldest and spiritually refined faith with liberal stream of thought explores and expounds many of these philosophical realities. This faith has touched upon the prosaic as well as the profound in equal measures and Dilesh, a keen student of religion in general and spirituality in particular, has transformed his influence into art works. 

An artist who has been preoccupied with capturing the natural beauty of Goa through watercolour landscapes and fiddling with other stray subjects, Dilesh, one fine day, was seized with the mysteries of existence and the human role in it.
Mentally occupied with the above-mentioned theme and physically honing his draftsmanship by sketching inadvertently as a matter of habit, Dilesh saw few queries opening up.
‘Dharma, Artha, Kama and Moksha are the four Purushartha which form the pillars of our existence as per our shastras,’ explains Dilesh. ‘And Kama remains the most misunderstood. This aspect inspired me to explore Kama in the philosophical sense and give it a concrete visual structure.’
Dilesh has put up twenty of his charcoal works, executed on paper, and five fiberglass sculptural pieces for the show. Each of these drawings exudes palpable energy that is sure to inspire the viewers. Forceful swirling and deft strokes emerge in an enticingly rhythmic pattern that guide the onlooker and captivate at the same time.
These works exhibit Dilesh’s understanding of chiaroscuro and exposes his skill in manipulating the negative and positive space to arrive at the desired visual structure. The forms in the works merge and emerge effortlessly, throwing up novel reality at every juncture. Human figures (male-female), devoid of cognizable features, intertwine and prostrate on the virgin picture surface inviting the viewers’ into their world.
Dilesh has attempted to explore the aspect of kama which is popularly understood as sexual pleasure and popularized through ‘Kama Sutra’. In Hinduism, kāma is regarded as the third of the four canonical (Purushartha) goals of life whilst the other being, Dharma (duty), Artha (worldly status, prosperity) and Moksha (salvation).
‘Understanding this much misunderstood aspect of life remained my goal during the creation of these works,’ says Dilesh with intense passion. His figurative works enveloped with mysterious aura call for attention. Very overt in his views and open to new ideas, Dilesh is unapologetic about bringing the whispered subject out from the closet.
The sculptural pieces, washed in bronze hue, carry the stylistic similarity. They ask for personal audience.
Dilesh, a graduate in Applied Art from the Goa College of Art, Altinho and armed with a Diploma in 2D and 3D animation from C-DAC, Pune, came down to Goa – his motherland – after a brief stint in Mumbai. He is currently teaching art at the St. Joseph’s Institute, Vasco besides pursuing his passion of drawing and painting.
The current show will be on view till February 21, 2014. 
 

       

MAHARAJA

 NAGUESH  RAO  SARDESSAI

Sara Khalafi, from Tehran, Iran, is currently showing her works at the ‘Art Resort Gallery’ in Palolem, Canacona.

Titled ‘Maharajas’, Sara – an award winning painter and graphic artist – decided to pay tribute to these Indian gentries who have been a point of curiosity and awe in her hometown. ‘The Maharajas with their pompous and rich lifestyle and luxurious palaces remain to be the point of fascination and subject of discussion in Iran,’ says Sara in a reverential tone.

‘My visit to India, over a year back, changed my perception,’ admits Sara. ‘My travel to several magnificently huge and amazingly beautiful palaces across the length and breadth of this country, witnessing ruins, besides going through the historical data opened a new vista and triggered a creative spark.’

These works here, at Canacona, is the outcome of this creative nudge. The viewers in Goa have an opportunity to understand non-Indian perception and worldview of our nation. Sara offers her independent views, of Indian culture and history, through these uniquely painted portraits.

Sara, a graduate in painting from the Azad University, Tehran and postgraduate in Graphic Design from Soureh University, Tehran has been a part of important art workshops and recipient of award.

She has shown in several group shows in Tehran and India. Notable amongst these are ‘Keep Our Planet Alive’ supported by the Directorate of Art & Culture, Goa, India in 2013; ‘White & Black’ at Homa Gallery in Tehran in 2010; ‘Selections from the New Generation’ at Homa Gallery, Tehran in 2007 and 2009; ‘Representation of Persian Painting in Contemporary Painting’ at Mah-e-Mehr Gallery in Tehran in 2007; ‘The fourth International Painting Biennial of the Islamic world’ at Saba Culture & Art Institute in Tehran in 2006.

Rajendra Usapkar, a noted Goan artist and mentor to several upcoming talents in the State, is the coordinator of this non-profit project of ‘Art Resort Gallery’. ‘Through this project, we intend to offer a platform to budding talent and simultaneously invite established artists. The former with a view to expose the young to the art connoisseurs and the latter to satisfy the art enthusiasts,’ explains Rajendra.

Holding this show in the south end of Goa is a deliberate move by Rajendra. ‘I intend to enliven every corner of Goa with the vibrancy of art,’ states Rajendra before adding, ‘To do that, we need to shift focus from the north, where major galleries are based and activities organized, to other unexplored areas like Canacona and several potential places.’

Portraits speak of the specific person, however, Sara’s portraits project a whole cultural ethos. The show will be on view till February 16, 2014.

INDORE MAGIC

 

NAGUESH  RAO  SARDESSAI

Ten artists from Malwa, a plateau from Indore – Madhya Pradesh, have transported the fragrance of the place to Goa through their group art exhibition titled ‘Fragrance Of Malwa’.

The show currently on at the Kala Academy – Goa, has over forty paintings on display. Executed in varied medium, the artists have remained stylistically conventional but maintained a very independent and individualistic approach.

Works of Ajay Punyasi, Hemant Waingankar, Ishwari Ravwal, Khanderao Pawar, Narayan Patidar, Rajendra Verma Tamrakaar, Roop Kumar Kumariya, Shankar Shinde, and Vijay Kale enliven the gallery space.

Preoccupied with themes as varied as religio-spiritual to nature and environment to female emancipation, besides indulging in creative twitching of scripts, these artists break the serious definition of contemporary art to create their unique universe.

Narayan and Khanderao intend to unite communities and raise the tolerance level through their art. If the former uses ethereal and spiritual forms the latter employs scripts and individual letters to do that.

Narayan’s soft hues and delicate forms washed over with pleasing colours collectively entice the viewers. The angel forms holding musical instrument, floating in heavenly space, exude warmth. ‘I dream of a world devoid of violence and anger that’s spreading rapidly throughout the globe,’ says Narayan. ‘My paintings are meant to spread the message of love and brotherhood.’

‘Satyam, Shivam, Sundaram’ is an interesting work that espouses the value of truth. Truth, according to Indian culture, is an example of beauty and the ultimate reality, that reality which in other form is Lord Shiv.

Khanderao approaches that reality through everyday employed scripts. Independent letters evolve from the seemingly nebulous surface and assert its identity. Subtle texture and painstakingly applied multilayered pigment, inspires an alluring shimmer and prods the viewers’ to mull over the uncalled for attempts at instigating linguistic, community, national and racial divide.

Then there’s Shankar Shinde who, inspired by the colours of the region that has influence from Rajasthan and Gujarat. The bright hues and pastel tones coupled with visual texture together produces shimmer of visual tapestry. He’s preoccupied with nature and seems to draws his inspiration from the mysterious play of light, shade and seasonal effects on nature.

Vijay and Roop attempt understand the feminine force through the female forms. Roop is straight and upfront with representation forms articulating his concept. Soft tones of reds and orange and subtle drawing with identical hue adds a seductive aura to his paintings. Whereas, Vijay, with his stylized forms, work on the spiritual aspect of female energy where Goddess Kali and other forms of Shakti are infused with contemporary idioms.

Rajendra and Ishwari seem to juxtapose the old with the new and make poignant comments. Rajendra is more linear and stylized as against Ishwari, who exhibits boldness and intermittently incorporates realistic genre.

Widely spread slum looming against frighteningly isolated heritage structures seem to speak of social disparity and disconnect in one of Rajendra’s works. Hemant’s two-dimensional cutouts, in his paintings, played against bright monochrome and washed with subtly texture adds freshness to his works.

Shashikant works with crosshatching technique and plays with the neutrals. Magical play of black and white enhances the surreal compositions.

Ajay, the lone sculptor, has happy-go-lucky dwarf forms adding drama to the gallery space. The forms invite the viewers for a dialogue. Open gestures and clear expressions give voice to these seemingly mute sculptural pieces.

Malwa has given India poet and dramatist Kalidas, author Bhartrihari, mathematicians and astronomers Varahamihira and Brahmagupta and the polymath king Bhoja.

This creatively and intellectually fertile plateau has nurtured these ten artists and they show a lot of promise.

The current show will be on view till January 30, 2014.

RURAL LIFE

 

NAGUESH  RAO  SARDESSAI

“...and then, I have nature and art and poetry, and if that is not enough, what is enough?” thus had said Vincent Van Gogh, the celebrated post impressionist painter.

Mohan Naik, the reticent yet easily the most popular and commercially successful artist, follows the aforementioned life. Content with the idea of residing in Cuncolim, a village deep in the south of Goa, Mohan lives a life in the midst of lush nature and raw culture.

 He remains preoccupied with portraying rural life and ethnic culture on his canvas and in a way documenting this fast dwindling wealth of our tiny state – due to various factors.

Carpe Diem Art and Learning Centre – Majorda, which celebrates and salutes such ideas of preserving artistic and cultural heritage, has put up a show of Mohan’s recent creations titled "Rural Harmony".

Never losing focus, Mohan has displayed the intense and passionate draw towards nature as stated by Vincent Van Gogh. The symbiotic relationship of nature and human beings develops into a spiritual fusion that triggers a creative spark. Mohan is an apt example of that.

He remolds the seen reality to suit his agenda and reconstructs the tableaux with the typical Mohan touch - very sober, quiet and pristine. The simple tribal people, their attire, livestock they are dependent on, serene atmosphere and virgin – unadulterated – air comes alive through his works. The human-animal camaraderie is depicted beautifully. This captivates the onlookers and extends an unspoken invitation to walk in their world.

Deeply anguished by the desperate degradation of our environment and unbridled industrial development, Mohan hopes to enlighten people to the unconditional peace and happiness that nature showers on us mere mortals.

He is a philosopher-painter with no obvious trappings. His paintings are an example in revival of long standing Indian miniature art. Significant aspects from traditional, conventional and ethnic genre get restructured and find a place in his painting. Mohan’s paintings are an example in a healthy balance of the old and the modern.

He smartly has attempted to draw our attention to not forcefully patronize old school of art and very casually protected nature. Mohan contemporaries the classical and conserves the traditional in his own way.

With numerous solo and group shows, several workshops and invitations and art connoisseur, from all over the globe, holding his works in their collection, Mohan is a celebrity artist of Goa.

Mohan has put up 46 of his alluring works that stamp his identity for the show. The exhibition will remain open till February 24, 2014.

PRINT GALORE

 

 

NAGUESH  RAO  SARDESSAI

Rajendra Usapkar, noted artist, printmaker and mentor to several young artists along with Ryan Abreu has organized an exhibition titled ‘Mini Print Show 2014’ at and in association with ‘Art Resort’, Palolem, Canacona, Goa.

The exhibition showcases over 100 prints of over sixty celebrity and noted artists along with several emerging printmakers from Goa and across the country. The works of doyen of printmaking art such as Jyoti Bhatt, Laxma Goud, Yusuf, Walter Emilio Dsouza, P D Dhumal, Vijay Bagodi, K R Subbanna, Sushant Guha, Anand Moy Banerjee, Jayanti Rabadia and Savindra Savarkar will be on display.

Goan printmakers who have achieved a commendable level of success and admiration from the art connoisseurs includes Querozito Dsouza, Rajendra Usapkar, Rajan Shripad Fulari and Viraj Naik are also on exhibit. Besides this, Rajesh Chodankar, Aadhi Vishal, Sripad Gurav, Sachin Naik, Shilpa Naik, Pradeep Naik, Siddharth Gosavi, Kedar Dhondu, Ramdas Gadekar, Santosh Morajkar, Chaitali Morajkar, Swapnesh Vaigankar, Karishma D'souza, Prashant Nageshkar and Ryan Francis Abreu represent the state.

 The ‘Art Resort’ has been supportive of art and has been, for last four years, consistently providing space to local as well as artists from other places across the globe. The intention is to provide a platform to the exhibiting artist and exposing the local populace to the creative advancement prevalent outside.

The title of the show being self-explanatory, each work does not exceed 8x8 inches in size. It has on view, a rare collection of small sized prints produced of varied medium such as engraving, woodcut, lithography, etching, photography etc.  

Goa has rich history of printmaking. It has begun with the colonial masters. Goa was the first place in the entire Asia to possess a printing press. It was at the Jesuit Saint Paul's College in Old Goa in the year 1556.

The other artists from rest of the country are Nilotpal Dhwaj Sinha, Suguresh Sultanpur, Prasad Swain, L.Kiran Kumar, Dushyant Patel, Jagdish Tamineini, Praveen Hatwar, Chandrasekhar Waghmare, Soola Posi Prasad, Anamika Prakash, Murali Chinaswamy, Brinda Bhatt, Utkarsh Makwana, Amshu MS, Neha Pathak, Neha Kasar, Kedar Namdas, Ajay Dhapa, Sudeep Kumar Bashyal, Ritesh Umate, Chirag Panchal, Malabika Burman, Vinayak Pandya, Kalpak Kulkarni, L Raja, Shikha Gala, Vaibhav Kitlekar, Varsha Pednekar, Shalmali Shetty, Bharat Dodiya, Mughda Joshi, Sunil Darji, Debraj Goswami, Satyanand Mohan and Sajal Sarkar.

The show will be on till January 21.