Artville Contemporary Artist Of The Day Sudharshan ShettyNo Title(from "this too shall pass")Medium: wooden chair, paint on fiberglass, neon, stainless steel and glass vitrine
Size: 141cm x 92cm x 92cm
Year: 2010
Sudarshan Shetty is particularly well known for his large-scale sculptures and installations. His work takes its point of departure in a lyrical world full of playfulness and freedom, unfettered by political questions. Through everyday-like fragments he presents a fascinating combination of the representational and the abstract that reveals different facets of modern society. In addition to this, Shetty often employs simple, subtle distortions in his works, e.g. distortions of scale. In so doing, he breaks down conventions and creates new ideals in an attempt at counteracting existing systems. Shetty has always worked with the concept of boundaries within the realms of the personal, the psychological, the social, and the carnal. He uses specially selected materials to celebrate and define such boundaries and their inevitable demise.
Shetty’s early paintings, later installations, and most recent kinetic sculptural assemblages all evince a keen interest in the macabre, the playful, and the seductive. But just as his works consistently evoke emotional responses in his audiences, his works are also contemplative and insightful. In the monumental work Untitled from 2006 he shows a mechanical sculptural installation that animates the cow. In India the cow is regarded as sacred. It is a symbol of goodness, fertility, and the feminine; a kind of mother goddess for the Hindu. Some Indian states even have a ban against slaughtering cows and oxen. Shetty’s sculpture consists of two life-sized skeletal cows, their hooves placed on top of each other. The sculpture was created in connection with a series of works entitled Love, which investigates the phenomenon of love as something that is at turns comical, ironic, and perverse.
In Shetty’s works the cows are quite literally naked – cut to the bone. At the same time, they pretend to be making love even though they cannot possibly move. However, the act of physical love taking place between the cows strikes us as neither insistent nor provocative, precisely because the placing of the cows does not facilitate it. The work also turns love into something mechanical: If a spectator passes too closely by the sculpture, the movement sets off a hammer that strikes the udder of one of the cows. To Shetty the main issue does not concern seeing and experiencing the work of art as an aesthetic object; rather, it has to do with how machines and objects in the world have a fleeting, ephemeral quality. In the work he demonstrates an interest in the cow as a national and historical symbol, as something with a jester-like potential for the comically sublime. His inappropriate interventions against the familiar posit his works in a changeable interspace located somewhere between universally shared frames of reference and intimate, private experiences.
courtesy:heartmus
#art #newmedia #intstallation #woodenchair #popularart #contemporaryartist#sudharshanshetty #artvillecontemporary #artgallery
Artville Contemporary Artist of The Day Bose Krishnamachari UntitledSize :36 x 36 In Medium :Acrylic on Canvas
Krishnamachari works in striking and dynamic abstracts, and with figures seen through saturated lenses. Even in his photography and multi-media installations, color is a dominant force. He says, I refine my color to brightness. I have learnt this usage from the alternately subdued and lavish color codes of Indian ceremonies and ritual performances; the costumes, the gestures of enactment. In addition to being an artist, Krishnamachari curates exhibitions and projects. He is driven by a desire to support the younger generation of Indian artists.
courtesy:galleriesplash
#art #acrylicpainting #dynamicabstracts #popularart #contemporaryartist#bosekrishnamachari #artvillecontemporary #artgallery
Artville Contemporary Artist Of The DayAtul DodiyaTitle: Portrait Of Niko Pirosmani (1862-1918)Year: 2005Medium: Enamel paint on laminate board, cotton kurta and cotton pyjamas on iron hangersSize:183 x 122 cm
In Portrait of Niko Pirosmani (1862-1918) Dodiya portrays the Georgian primitivist Niko Pirosmani, who was revered for having invented a new technique of painting during periods of solitude and poverty. The portrait of Pirosmani initially formed part of Dodiya’s large scale exhibition ’Shri Khakhar Prasanna’ which was dedicated to his friend, the late painter Bhupen Khakhar. Believing that Khakhar was influenced by Pirosmani, Dodiya wanted to include the Georgian painter in his show. The artist uses found objects such as the cotton Kurta and pyjamas which hang over this painting. Here they are dyed a different colour in tribute to Khakhar, who dyed his kurta pyjamas black so he could wear them as an apron in his studio.
courtesy:saatchi
#art #figurative #popularart #contemporaryartist #atuldodiya#artvillecontemporary #artgallery
Artville Contemporary Artist Of The Day
Sudhir PatwardhanTitle: Memory - Double Page, Diptych.Medium: Oil on canvasSize: 79" x 118"Year: 1989
Patwardhan's canvases are densely populated reflecting the hub of city life often with emphasis on the ordinary, working man. His human forms are imbued with a sense of innate dignity as they go about performing their chores in busy city streets or in suburban construction sites. Apparently realistic, the work at times brings in an imaginary, remembered space or it can be viewed from several vantage points making it multi faceted. More recently the receding and emerging figures provide a rhythmic unity to his group compositions echoing the ancient mural art of Ajanta and Ellora.
courtesy:contemporaryindianart
#art #oilpainting #landscape #popularart #contemporaryartist#sudhirpatwardhan #artvillecontemporary #artgallery
Artville Contemporary Artist Of The Day Reena Saini KallatTitle: SynonymYear: 2007Medium: Acrylic paint, rubberstamps, plexiglassSize: 195 x 134 cm
The work stands like a screen, holding up a portrait formed by several hundred names of people, rendered in scripts of over 14 Indian languages. From a distance they come together as a portrait, but up-close they almost seem like a circuit-board of rubberstamps. The rubberstamps are made with names of those officially registered as having gone missing in India from different geographical zones. These include the names of those lost through natural calamities such as landslides, floods and earthquakes, the names of those who have gone missing during riots or large scale mishaps and the names of those abducted or absconding, with the police still trying to ascertain their whereabouts. These are people who seem to have slipped out of the radar of human communication, who have been thrown off the social safety net. The portrait of a sub-continental citizen is formed by numerous such names; the back of the portrait emerges as a sea of invisible identities, a bird’s eye view of a large human congregation
Her practice – spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.
#art #rubberstamps #portrait #newmedia #popularart #contemporaryartist#reenasainakallat #artvillecontemporary #artgallery
Artville Contemporary Artist Of The Day
Babu Eshwar Prasad
Untitled
Medium: Acrylic on paper
Size: 17 x 26 in
Prasad's paintings explore landscapes recalled and recreated through
the mind's eye during dreams. Some critics have called these mystical
and surreal pictures psychoscapes, or landscapes that have been touched
and moulded by the inner self and the alternative reality of dreams. The
artist's mind creates and modifies visions of nature, transforming them
into patterns and harmonious blends that no one else could imagine, let
alone see. There is also a certain nostalgic quality to these
psychoscapes, as if the artist is trying to recall the stories and
fantasies of his youth, which much to his disappointment have lost their
magic when viewed through an adult lens.
Prasad's vocabulary
has been describes as an "imagery exploring a psychic map, which he
navigates with the amazement of a child, into a world of chimeras,
sacred mountains, speaking trees and unknown waters." Often turning to
the picture within a picture format, Prasad creates situations that are
twisted away from the familiar, but yet not as far away as to be totally
unrecognizable. Each form, figure or architectural and natural element
is very clear to the viewer, and only transformed in the sense of the
role it plays or the position it occupies. Everything that is expected
is turned on its head and the artist has no qualms in painting a blood
red sky or mountains that are bright yellow.
courtesy:saffronart
#art #painting #psychoscapes #landscape #popularart #contemporaryartist #babueswarprasad #artvillecontemporary #artgallery
Artville Contemporary Artist Of The Day Gulam Mohammed SheikhTitle: Story Aziz & AzizaMedium: Oil on canvasSize: 66" x 48"Year: 1989
Gulam Mohammed Sheikh as been instrumental in initiating and theorizing the Narrative-Figurative tendency in contemporary art. His early work may be seen to be occupied with an investigation of the subliminal reaches of human existence. His work from the 1960s and 1970s can be seen to be informed with a consciousness of the surreal in the seemingly mundane. An undercurrent of the erotic seems to animate the landscape. An extreme organicity of forms in vibrant psychedelic color falls in with this concern. His interest in several traditions of world art and the search for a linguistic-theoretical bedrock that could support an indigenous practice that did nor become insular have since led to the formulation of a practice that resists monolithic constructs of identity or tradition, and moves back and forth in time and space
to construct memory plays that do not remain restricted to the autobiographical. Though the autobiographical reference has been an important part of his practice, Sheikh has found it possible to reach for reflections on the historical and the civilizational through the device of the autobiography. Musings on place, on the cultural environment of the individual are of importance, to him; the physical and the transcendental meet in his work.
courtesy:contemporaryindianart
#art #oilpainting #figurativestyle #narrative #popularpainting#contemporaryartist #gulammohamedsheikh #artvillecontemporary#artgallery
