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Booth No 1C09

Aditi Singh | Bhuvanesh Gowda | Bijoy Jain | Desmond Lazaro | Dhruvi Acharya | Mithu Sen | N S Harsha | Yardena Kurulkar

A recurrent theme in Aditi Singh’s drawings is the anatomy of flowers. Creating floral images for over one decade, they still continue to preoccupy the artist’s oeuvre, or as she puts it: At a certain moment a form chooses you and won’t leave you in peace. I am interested in the process of peeling away the layers to get at the insides. Of having the paint make a gesture, dense and explosive or ephemeral and fragile. Of allowing line, texture, harmony, dissonance, silences, ruptures, a place to circulate. To keep shape, and flow. Of exposing the warmth of seeing-which-is-making with the grace of continuing without certainties, yet painting with an ever-vigilant eye. My intent, if any, is to keep the process open-ended.

With wood as his primary material, Bhuvanesh’s approach to creating forms continues to be that of a proficient carpenter – strict, scrupulous, precise, dexterous and diligent. He gleans from ‘Vishwakarma’, the master carpenter and divine architect-engineer of the gods, adopting a free-flowing and process-oriented engagement with found objects and material. Disentangled from pressures associated with predetermined outcome, Bhuvanesh weaves his magic with clear doses of spontaneity, dynamism, and playfulness. With this work, Dr. Capra’s Garden, Gowda pays a homage to one of his most oft read authors by juxtaposing his idea of urbane growth with subsequent environment deterioration.

In a participative creation process, where the elements of nature - light, fire, water, earth, air- all play a significant role, Bijoy’s work is the focal point where temporal and spatial stories meet. Used as canvas upon which to make line drawings, these panels are made with materials from the earth, such as Karvi (a regional shrub claimed by local communities as a suitable material with which to make spaces to inhabit), jute rope, cow dung and lime. Natural pigments such as Sindoor, Turmeric, Indigo, and Kohl have been used to render colour. Some of the forms under discussion, like a tazia, a dhobi ghat, a mandala, are temporary and transient in themselves. They are, according to him, codified measurements that transcend all distances because they carry forward the emotions attached to the structure itself. Using just the gesture of flicking a taut thread soaked with pigment, the surface is struck, to make a ‘marking’ which transfers the dimensions of a perceived space, directly onto the canvas as a way of documenting it.

Through Commonwealth, Lazaro alludes to the history embedded in the ubiquitous coin. Be it an identification marker, a bargaining chip or stamp of patriotism, Lazaro states that coins have always been a symbol of power and dominance. Subsequently, as the British Empire fell apart, the idea of the 'Commonwealth’ was created which comprised of former British colonies to hold on to the Empire’s illusory idea of dominance. 

This work is the reproduction of a common one penny piece with the figure of Britannia, circa 1950, which is when Desmond Lazaro’s parents moved to the UK. In configuring a coin as a gold icon, Lazaro wishes to consider how state symbols are created and perpetuated. The Empire (Britannia) sits on the throne of justice, presiding over the world with a trident in one hand the union jack shield in the other. The illusion is perpetuated on a one-penny copper coin, however in the work copper, not alchemical lead, has turned to gold, appropriated this time by the individual, not by the State.

This work, Awakening, by Dhruvi Acharya explores the arduous emotional and psychological processes of reconstructing one’s self and returning to a purposeful life. It exposes the numbness, the disbelief and the deafening screams in one’s head, where battles have to be fought in order to understand and accept a new, altered reality. The myriad visual detailing in Acharya’s work lures viewers to reflect on their own experiences and sentiments, making the specifics of the stories and the meaning of each image unimportant, and allowing for the contemplation of our shared human existence.

Ever the unconventional, Mithu Sen is renowned for her acerbic derisory work, with its pictorial exploration of the body, sexuality and desire, blurring the line that exists between the human, plant and animal kingdoms. Between delicate pencil strokes to graphically dense images, these drawings have been embedded in the layers of pulp with topical application of paint and found objects. It is a synthesis of these conversations that have been culminated in these frames.

Sprouts, reach in to reach out is a result of N S Harsha’s on site work at the Dallas Museum of Art, Texas. Over a course of twelve days, N S Harsha worked to produce a frieze of fictional characters over a 120-foot mural of more than 50 fictional characters, each accompanied by a deity. These peripatetic idols are believed to be temporarily imbued with the originating idol’s power. With this, Harsha has explored his penchant of making symbolic figurative human images in tandem with their individual stories and shared dynamic with neighboring figures.

Kenosis’ (2015) is a journey into nothingness, with a derivation from the Greek word ‘kenoo’, which means to empty. The heart, the most important organ in the body and the first to develop in a fetus as a sign of life, is the center of ‘Kenosis’. Intervening technology with belief, Kurulkar found 3D printing to be a method that could dissect and analyze components that make us mortal. She worked with this technology to acquire a life-size terracotta model of her own heart. The terracotta heart was then submerged in water and an image was captured at regular intervals of disintegration. This led to a documented journey of the heart into nothingness in a series of fifteen selected images of framed time. The only remains of the time of the heart in water is an unrecognizable lump of red clay, with the residues of emotion, memory and time that the heart deposited on people and its relations when it was a form. 

- an excerpt from ‘Ephemeral Recovery’,Veeranganakumari Solanki Jamwal, November, 2016.