KALAVISHKAR

NAGUESH  RAO  SARDESSAI

‘Kalavishakar’, a group of enthusiastic artists, presents an exhibition of paintings and sculptures at the Goa Kala Academy’s Art Gallery.

Thirteen artists, over eighty works, and amazing variety of style and medium invite the viewers to have a dialogue. Led by Nilesh D. Nikam, the group has managed to draw attention and receive critical appreciation.

Coming here for the first time, the group, collectively, has had numerous shows to its credit across the country. Many of these artists are influenced by traditional and conventional styles, but have attempted to assimilate the same into their own expressions and present an innovated piece of art to the viewers.  Individually, most of these artists have had solo shows and participated in numerous other group shows.

Besides Nilesh; Nagesh M. Hankare, Nitin V. Juvalekar, Dhiraj B. Patil, Nita Desai, Vishal Rajas, Krishnath K. Kumbhar, Vivek W. Prabhukeluskar, Mahesh M. Karamble, Ravindra G. Rahate, Meena Raghwan, Priya M. Borse and Dipti N. Nikam are the other artists showing their works.

Nitin does spiritual oriented works with recognizable figures interspersed in the yogic and tantrik symbols. Male-Female, Yin-Yang aspects seem to get interpreted through Nitin’s perspective. A fused upright and inverted triangle hemmed in between a blooming flower at the bottom and a shimmering dot at the top, in a work of art, gives complete overview of the tantric tradition of this land.

Ravindra, Vivek, Mahesh and Nagesh are fascinated by the landscapes. Except Vivek, the others have used acrylics. Employing an ant’s eye view, Vivek has added a unique perspective to the ordinary fishing trawler. ‘Charcop I & II’ not just display his felicity with watercolours – a medium that he prefers over others – but exhibit his keen observation of the surrounding, that he lives in, and the ease at which he creates that on the paper.

Ravindra does conventional compositions with houses, boats and flowing streams captured to its near realistic perfection. Reminiscent of Goan landscape, most of the displayed works are scenes from the Konkan region, neighboring Goa. One of the works has flight of steps shooting into the upper region of the frame adding a visual force to the composition. The scene, even though from Konkan, reminds one of similar structures found in the heritage precinct of Fontainhas, Panaji.

If Nagesh’s landscapes are an example in serenity and calmness then Mahesh employs vibrant brush strokes. Quiet olive green water, embellished with tender pink and white lotus, enveloped by calm green leaves exudes meditative aura that not just invite the viewers but holds them spellbound. Another work has the dusk caressing the scene whilst ships remain in silence, at a distance, and placid grey water, shimmering at places, adding quality to the piece.  

Capturing monsoon and busy streets of Mumbai, Mahesh reflects the typical rush and hyperactive character of the business capital of India through his random and fluid brushstrokes. Working in acrylics, Mahesh prefers larger canvas and challenging scenes. Perfect reflection of buildings, motor vehicles and people into the rainwater and minor yet significant details like – glowing auto rickshaw through the pouring rains – add value to his works and display his caliber.

Priya and Dhiraj paint mundane topics. Flower sellers, young girl waiting and so on. Simple and small compositions with recognizable forms and pleasing colours draw common viewer’s attention. Dhiraj’s ‘Waiting For Love’ and ‘Blossom’ deserves mention.

Elephants, Horses, Lord Ganesh, Lord Krishna and other forms take center stage in Nita’s works. Seemingly strong influence of Indian miniature and south Indian murals can be identified. Nevertheless, Nita has pulled the forms out of the original context and infused independent meaning into it employing her creative freedom. They are worthy of a look.

Meena employs a unique technique in her art called ‘Sanjhi’ as found in Mathura in Uttar Pradesh, India. This technique is also prevalent in Japan but goes with the title – ‘Kirie’.

Paper is painstakingly cut into the desired pattern and stuck on another contrasting surface to reveal the said design. ‘Ekaksha Ganapati’ stands out for her ingenuity. ‘Seascapes’ are done so well that they can be traded for woodcut prints for their similar look. Meena, in ‘Universe’ has attempted to draw from the Egyptian imagery.

Dipti’s warli influenced paintings are pleasing but her tiny experimental works, bordering on installations, with miniature figurines propped and framed against related Warli visuals stands apart. They are an example in innovation and preservation. Dipti has imparted modern energy to the traditional.

Nilesh’s supple lines and curvilinear figures, washed in shimmering hues and covered with visual texture, draw ones attention. Protagonist against forms resembling figures from Ajanta cave paintings, pose reflecting Gautam Buddha in a compassionate gesturer, Lord Krishna in his finery etc. Nilesh plays with subtle hues, neutral black with a dash of blood red to create mystery in his work. His paintings are small yet hold profound quality.

Kolhapur based Vishal and Krishnath’s, sculptural creations using different material, arranged across the gallery floor, complete the aesthetic environment. Vishal uses granules and has sculpted pieces that are an example in grace and refined beauty. Whereas, Krishnath’s metal sculptures are forceful and potent. Animal and human forms are frozen in a conventional pose yet hold insightful tale. A reclining pregnant lady caressing her apparently unborn child as in ‘Future Worried’ speaks volumes. A curled up and sleeping cow, as in ‘Dream’, oblivious to the happenings around and in yet another piece shooing away an irritant bug reflects the humane side of Krishnath.

The show is on view till December 31.