Category: Art Achievers

Renowned artist makes his debut in UAE showcasing 66 paintings of Lord Krishna.

Renowned Indian painter Padmashree Krishna Kanhai recently organized an art exhibition in Dubai, marking his fifth international exhibition and his first in the UAE. The exhibition, held at the prestigious Hotel Taj Business, featured 66 paintings predominantly depicting Lord Shri Krishna. The event was inaugurated by Mr. Satish Kumar Sivan, the Consul General of India in Dubai, who lit the ceremonial lamp to commence the exhibition. The grand opening saw the presence of hundreds of visitors including a large number of people from the Hindu community and various other communities, reflecting the widespread admiration for Kanhai’s art.

This show was particularly significant as it was the first time in Dubai’s history that an exhibition dedicated to Hindu Gods and Goddesses was organized. The event received immense support from the local community and notable individuals such as Rohit Pal Sharma from Mathura, Banjul Badil from Meerut, and Vikrant Nigam from Dubai, who played important role in making the event a success.

The three-day exhibition, which ran from May 31 to June 2, 2024, garnered significant attention and drew a large number of visitors. One of the distinguished guests were Shri Brahmvihari das Ji, of the newly constructed Akshardham Temple in Abu Dhabi. The temple, which was inaugurated by Prime Minister Narendra Modi on February 14, 2024, has become a symbol of cultural and spiritual pride for the Indian community in the UAE. Shri Brahmvihari Das Ji’s presence at the exhibition added to its prestige and highlighted the cultural connections between India and the UAE.

The exhibition was like a pilgrimage for Krishna Kanhai, who was accompanied by his wife Kusum Kanhai, his son Arjun Kanhai, daughter-in-law Megha Kanhai, and Aaradhya Danwar. Their presence underscored the personal significance of the event for the artist and his family, who have been Lord Krishna devotees and deeply involved in his artistic journey.

In recognition of the successful organization of this exhibition, Prime Minister Narendra Modi sent a congratulatory message to Padmashree Krishna Kanhai on April 24, 2024. The letter from the Prime Minister was a testament to the importance of the event and the high regard in which Kanhai’s work is held at the national level. The Prime Minister’s acknowledgment served as an inspiration and a proud moment for the artist, his family and the entire organizing team.

Krishna Kanhai’s paintings, known for their vibrant depiction of Hindu deities, particularly Lord Shri Krishna, have gained immense popularity not only in India but also internationally. His exhibitions have been celebrated for their artistic excellence and cultural significance, making him a revered figure in the world of art. The Dubai exhibition was a milestone in his career, showcasing the rich heritage of Indian art and spirituality on an international platform. The success of this exhibition in Dubai has further established Krishna Kanhai’s reputation as a leading artist whose work transcends cultural boundaries. It also highlighted the growing appreciation for Indian art in the UAE and the potential for future cultural exchanges between the two nations. As the curtains closed on this landmark event, it left a lasting impression on all who attended, celebrating the timeless beauty and spiritual essence of Krishna Kanhai’s art.

The passing of A. Ramachandran and Gogi Saroj Pal has created a void that can never be filled.

The year 2024 had a sombre start. The Indian art fraternity lost two great artists. Art Soul Life pays homage to the great artist A. Ramachandran Nair and Gogi Saroj Pal for their immense contribution to Indian art and their significance in shaping and influencing art universally.

Achutan Ramachandran Nair

A painter and a sculptor Ramachandran were born in 1935 in Attingal in Kerala where he embarked on his artistic journey. Captivated by the ancient murals adorning temple walls and mesmerized by the vibrant performances of Kathakali, his thought process was deeply influenced by traditional Indian art. However, it was not until he completed his studies at Santiniketan that Ramachandran experienced a breakthrough, creating paintings inspired by the legend of Yayati in the mid-1980s. This narrative from the Mahabharata, where a king in his old age asks his son to grant him youth to indulge in worldly pleasures, unfolds in a contemporary setting in Ramachandran’s work. His paintings are rich with lush vegetation, wildlife, and graceful women, with lotus ponds symbolizing fertility and feminine energy, adding a dynamic element to his narrative.

Ramachandran’s comprehensive overview encompassed murals, intricate miniatures, etchings, sculptures, and book illustrations, along with his design of stamps. He embraced life fully, dedicating much of his time to artistic pursuits and engaging with people with a touch of humour.

For many decades, the lotus pond remained a cherished theme in both his paintings and drawings. In contrast, his sculptures showcased tribal totem-like symbols—a singular pillar-shaped figure, intricately stylized with ornamental linear designs crowning it. This inspiration most likely stemmed from his keen observations of rural Bengal’s inhabitants working in paddy fields, an activity Ramkinkar Baij encouraged all students to undertake at Santiniketan. This was melded with his research on Kerala temple art, resulting in the creation of emotive artworks.

In 2002, he was elected a Fellow of Lalit Kala Akademi, and in 2005, he was awarded the Padma Bhushan, India’s third highest civilian honour, for outstanding service to the nation. In 2013, he was conferred with an honorary doctorate by Mahatma Gandhi University, Kerala. He is survived by his wife Chameli (Tan Yuan) Ramachandran.

The extensive collection of bronze sculptures exhibited in Delhi last year not only showcased his craftsmanship but also revealed a keen vision honed over years of striving for excellence. His passing on February 10 at the age of 89 due to a kidney ailment leaves behind a profound legacy characterized by life’s abundance and his unique experiential perspective. Ramachandran was not just an extraordinary artist but also a visionary who left a lasting legacy in the world of art. His passing marks the loss of a significant figure who made substantial contributions to the art community.

Gogi Saroj Pal

Renowned for her bold use of colours and unique artistic style, Gogi Saroj Pal passed away at her Delhi home on January 27, 2024 at the age of 79, leaving behind a legacy of groundbreaking artistry. She was celebrated as the ‘first feminist artist of India’. Gogi Saroj Pal was born on October 3, 1945, in Neoli, Uttar Pradesh, just two years before India’s independence. She belonged to a family from the Kangra Hills in present-day Himachal Pradesh, known for their involvement in the freedom movement. Her uncle, Yashpal, was a well-known Indian freedom fighter and Hindi-language writer.

Gogi inherited a natural inclination towards defiance, almost as if it were in her genes, which was reflected in her works, especially the nayikas (heroines). Her artistic focus on the feminine force is evident in many of her paintings, where women take center stage. Gogi Saroj Pal was known for her miniature nayikas that blended traditional themes with modern feminism. Her figurines, often depicted in a naked yet expressive manner, gazed back at viewers with large, graceful eyes, silently conveying inner desires.

Gogi was a master of various mediums including acrylic, oil, gouache, weaving, ceramics, and lithography. She reinvented Indian myths, infusing them with a feminist perspective, and her artistic genius earned her acclaim worldwide. She shared her expertise by teaching Fine Arts at Women’s Polytechnic and College of Art in New Delhi, and also delivered guest lectures at Jamia Millia Islamia in New Delhi. Gogi Saroj Pal’s exploration of women’s lives, desires, and the enigmatic realm of femininity has created a lasting artistic legacy.

From her early series such as “Being a Woman” to more recent ones like “Kamdhenu” and “Dancing Horse,” her body of work reflects her unwavering commitment to addressing societal challenges and highlighting the resilience of women.

Gogi Saroj Pal’s “Being a Woman” series indeed delves deep into the societal roles and challenges faced by women, often portraying them in powerful and symbolic contexts. One of the paintings, depicting a woman in a crucifixion-like pose, is a poignant reflection of the pain and struggles that woman endure, drawing parallels to historical and religious narratives. Pal’s ability to convey such profound themes through her art is a testament to her skill and vision as an artist. Her recognition with awards like the National Award from Lalit Kala Akademi further solidifies her impact on the art world. While her passing has saddened the art world, her influence is expected to endure for years to come.

The 15 participants tried to explore the connection between life and the spiritual realm.

The art group titled Journey brought together a group of prominent, award-winning artists who interact with the outer world through the lens of creativity. The group show, titled Dekho, was indeed a feast for the eyes. From trying to capture the fragmented reality to challenging the social issues that plague the lives of those living on the margins, the artists solely relied on their colour and brush to do so and have done complete justice to it. There were14 participating artists and a sculptor who tried to explore the connection of life with the spirit, the mortal with the immortal and the self with the universe. The exhibition was held in AIFACS Gallery, New Delhi from February 9 to February 15, 2024.

While some have infused life into the landscapes portrayed by them through the use of bright colours, others have explored spatiality through the emotions associated with it. Some artists have focused on material reality and have thus rendered the dimensional differences between a sculpture and a painting. It is indeed a considerable feat by the 15 participants to bring together nature, culture, materiality, and emotions on the same platform.

A look into the participating artists and their works:

Manoj Deb: With musical and art talent combined, Deb’s love for art takes over his love for tabla. Trained as a graphic artist at the Indian Art College, he has ruled the world of advertisement. However, he has also exhibited his paintings at renowned galleries all over India, as his love for abstract painting has always been alive.

Santanu Sarkar: Sarkar speaks through his art in eloquent silence. His artistic process consists of holding conversations with his paintings. Even though his paintings never respond back in human language, they do so by breaking the boundaries of language. After graduating from Rabindra Bharati University, he has exhibited his paintings in several exhibitions.

Rita Datta: Datta brings together poetry and art in her paintings. After completing her graduation and fellowship, Dutta has participated in several art exhibitions.

Kangkan Barman: Barman considers Rembrandt his lifelong mentor, and just like the Dutch genius, Barman tries to depict a variety of subject matters, from nature to city life to human life. After completing his master’s, he has exhibited his paintings at various art exhibitions.

Prasenjit Shaw: Shaw’s paintings are inspired by the Abstract Expressionism movement, and one can see that spontaneity and control over hues are equally present in his paintings.

After completing his masters in fine arts, he has exhibited his paintings at several art exhibitions.

Tuhin Ghosh: Ghosh uses lines with vivid hues to capture nature in fragments. His experience and memory of nature provide him with fuel for creativity. Using the technique of line drawing, he highlights the contrast between reality and the abstract. Ranajit Kumar Ghorai: With double degrees in fine arts from Visva-Bharati, Ghorai’s sculptures transcend the material reality of his artwork and enter the realm of life. The sculptures themselves capture the slow transition from an everyday object to an embodiment of a living being. The spirit of creativity in the artist manifests itself through his focus on fecundity and sexuality.

Sanjeev Shashwati: Shashwati’s upbringing in the grassroots presents itself in the form of art capturing the quotidian. Using media like pen, pencil, and colour on a variety of surfaces, he captures the social issues that plague the lives of those living on the margins. He also doesn’t fail to portray nature and is an expert at portraying birds. His works are often inspired by Indian art forms, like Manjusha folk art and contemporary art.

Ganga Narayan Maharana: Maharana tries to understand the essence of what defines a woman as part of his artistic journey. Maharana, who got his bachelor’s degree in fine arts after initial resistance from his family, lets his understanding of women’s inner world guide her external manifestation. Using the theory of Rasa, the artist tries to portray the emotions stipulated by the aesthetic theory through his art.

Aloke Dutta: Dutta challenges the dimensional differences between a sculpture and a painting and does so by depicting armatures. Dutta captures everyday life by focusing on the underlying structures that govern it, the structures that either hold the promise to create something new or are remnants of something broken. He has participated in major art exhibitions.

Fullachandra Mistry (P. Kashyap): Using acrylic on canvas, Mistry captures the intricacies of people and culture. Mistry, who graduated from the Indian Art College, has showcased his art at several distinguished art exhibitions.

Namrata Agarwal: Agarwal, an alumna of NIFD, combines her talent as a fashion designer and an artist and showcases it through acrylic abstract art. Her work stands out owing to its vibrant colours and intricate textures. Along with being a key member of Artamo, the artistic collective, she has also participated in several art exhibitions.

Sanjoy Banerjee: Banerjee looks at nature through the lens of creativity and tries to capture that on paper. He infuses life into the rocky landscapes he portrays through the use of bright colours. He has been a part of several solo and group shows, and he has also participated in art camps. His talent has been awarded both nationally and internationally.

Tanushka Singha: Singha nurtures and celebrates her creative space through her art. Instead of focusing on a particular theme, she explores the elements of life, both tangible and intangible. She explores spatiality through the emotions associated with it. She also explores the emotional values that get attached to mundane objects.

Sudhir V. Phadnes unveiled his solo show, Vision, at Jehangir Gallery in Mumbai.

Senior artist Sudhir V Phadnes unveiled his solo show, Vision, at Jehangir Art Gallery in Mumbai on March 11, 2024. The exhibition continued till March 17, 2024. The show was inaugurated by Sushma Sabnis, a prominent art writer and curator. The other guests include film director Yunus Bukhari and eminent artist Ramesh Pachpande.

A veteran in his work, at the heart of Phadnes’ artistic philosophy lies a profound connection with the universe. His canvases breathe with the rhythmic pulses of life, capturing not just moments but the very essence of existence. He intends to navigate the cosmic dance of atoms and the melodic symphony of curves, through his brushstrokes, bridging the gap between the macro and microcosms.

What sets Phadnes apart is his unyielding empathy for the world around him? He doesn’t stand aloof, casting a detached gaze upon his subjects. Instead, he immerses himself in the intricate web of forms that populate his artistic realm. This intimate engagement with the mundane unveils hidden treasures, revealing the beauty that often eludes casual observers.

Central to Phadnes’ artistic vision is the notion of lived experience. His art is not a detached exercise in aesthetics but a reflection of his psyche, infused with the rituals and ceremonies of his inner world.

Each stroke of his brush carries the weight of personal introspection, resonating with the universal rhythms of life.

In Phadnes’ oeuvre, one encounters a celebration of subtlety—a nuanced appreciation of life’s delicate intricacies. His paintings are not a retreat from the complexities of modern existence; rather, they are portals that invite viewers to behold the world through a sacramental lens. It is through this lens that the mundane transforms into the miraculous, inviting contemplation and reverence.

Phadnes’ artistic journey is not driven by a desire to shock or provoke. Instead, it is a quest to unveil the inherent beauty that permeates even the smallest particles of existence.

His art becomes a beacon of true vision in a world often shrouded in suffering and strife—a testament to the enduring power of creativity to illuminate the human experience.

As late Keshav Malik Padmashree Awardee once commented on Phadnes’ work, “an artist is more than just a creator of visual or auditory stimuli, they are conduits of the creative spirit, translating the intangible into the tangible. Phadnes embodies this essence, weaving intricate tapestries of emotion, thought and perception through his art. His work transcends mere depiction, delving into the essence of existence itself.”

In short, Phadnes embodies the quintessential artist—one whose work transcends aesthetic boundaries to touch the very soul of humanity. Through his paintings, he invites us to witness the world anew, to discover beauty in the most unexpected places and to embrace the transformative power of art in our lives.

Parvathi Nayar’s latest art installation at Dakshinachitra Museum in Chennai seamlessly blends nature with technology.

The walls between art and engineering are crumbling as the collaboration between eminent visual artist Parvathi Nayar and Forms and Gears, one of India’s oldest and well-known fixtures building companies with clients across the globe, joined hands. Together they came up with the installation titled Ocean’s Breath. This fusion of creativity and engineering was unveiled as a part of the permanent exhibit, The Living Ocean, at Dakshinachitra Museum in Chennai, on April13, 2024.

Parvathi Nayar is a visual artist renowned for her installations and drawings. Her work delves into the intricate tapestry of spatial relationships, weaving together narratives of nature and technology. With creations like Drawn Sculpture adorning public spaces worldwide, Parvathi continues to redefine the boundaries of contemporary art.

The fusion of art and engineering has long been celebrated for its boundless potential. As Theo Janson once famously remarked, “The walls between art and engineering exist only in our minds. And only a few have the imagination to see beyond them.” Such is the spirit that fuelled the collaboration between Parvathi Nayar and Forms and Gears, bridging the realms of creativity and precision engineering.

Ocean’s Breath is more than just an installation, it is a testament to the harmonious coexistence of divergent disciplines. Inspired by the microscopic diatoms that inhabit our oceans, this artwork encapsulates the delicate yet vital essence of marine life. Diatoms, often overlooked, contribute significantly to the oxygen we breathe, symbolizing the interconnectedness of all life forms.

Parvathi Nayar’s artistic vision, coupled with Forms and Gears’ technical expertise, gave rise to a masterpiece that transcends traditional boundaries. Through meticulous experimentation with various metals and engineering processes, the team breathed life into Parvathi’s drawings, preserving their integrity in a three-dimensional metal form.

Reji Varghese, Partner of Forms and Gears, reflects on the transformative journey of collaboration, stating, “Working with Parvathi was akin to learning to ‘see again’. It required us to shed the coloured lenses of engineers and embrace a holistic perspective, were intuition and creativity reign supreme.” The process was arduous, marked by numerous challenges and triumphs.

From crafting intricate diatoms to ensuring structural stability, each step demanded a delicate balance of artistry and precision. Yet, through perseverance and ingenuity, the team overcame obstacles, culminating in a breathtaking artwork spanning 3.5 meters by 4 meters.

Ocean’s Breath is not merely a static piece, it is a catalyst for future collaborations between art and engineering. Parvathi and Reji envision a world where technology and creativity intertwine, pushing the boundaries of artistic expression. As Reji aptly observes, “New technology and advanced manufacturing techniques have expanded the artistic toolbox, paving the way for unprecedented innovation.” Forms and Gears, is a fixture building company with clients across the globe.

Padmashri awardee Shyam Sharma’s artworks are a fine example of nature entwining with mind. He is one of the greatest living legends India has says Vasant Rao, artist and curator from Sydney, Australia

If nature is the macrocosm, the body is the microcosm. Nature is life oriented, while the mind is individual-oriented. When there is a clash between the mind and nature, we try to shape the world following the mind, rather than living in harmony with higher existence. This is where the conflict begins. Nature ultimately wins by reclaiming the bodily form. The balance between the mind and nature has a significant bearing on our ecosystem. The mind uses the body in a way that may or may not be in tune with nature. Nature is not some distant phenomena. In the form of our body, we carry a drop of nature wherever we go. Padmashri awardee Shyam Sharma’s artworks are a fine example of nature entwining with mind. He is one of the greatest living legends India has and is presently based in Patna.

The legendary artist imbibes the vibrancy of Indian tradition from the colourful devotionalism of his birthplace Govardhan, Mathura in Uttar Pradesh. In Shyam Sharm’s work, one can recognise a few important characteristics of constant innovation and discovery in his great body of works. Shyam Sharma’s work of art depicts multiple visual depictions in a single composition that includes symbols of Indian cultural and spiritual values. They express meaning and meaninglessness, sound and silence of our own life and the world around us. His colours are mostly earth colours or primary colours which shows his main concern with what is quaint and permanent and not what is bright and immediate.

Shyam Sharma’s visual compositions present the degree and quality of Nature connectedness of life which forms our identity. The characteristics of nature connectedness are similar to those of a personality trait and can be referred to as emotional affinity towards nature or inclusion of nature in self. The forms in his painting reveal some ancient wisdom describing layers of experience.

The colours in Shyam Sharma’s work create a great environment to seek some divine mystery. The beautiful healthy forms, lines and space make a great physical body of his idea wherein his mind, intuition and spirit are housed thus creating a scape of silent consciousness just like a mirror. The end result is the most valuable experience of the artist and a quality of the inner music depicted visually for the viewer that shows the inner space is full of harmony, joy, blissfulness.

Shyam Sharma’s work of art gives the viewer an experience of having entered some secret, undiscovered space of existence. His entire process of art is presented in such a subtle way that you can feel privileged that all the mysteries of existence are exposed to you. You can enjoy the first- hand experience of the power and energy of Shyam Sharma’s work at the Art Life Gallery, wherein the show Akash Ganga is going on representing his works. The show is curated by Pratibha Agarwal wherein she has made sincere attempts to reveal these hidden secrets of ethereal existence.

The Account of the Celestial in P. Gnana’s Works

P. Gnana’s art engages the discipline of form and texture succinctly, returning his viewers to the primal wonders of life. Rendering a strong visual language to stages of infancy and spiritual awakenings, the artist works through metaphors. The aesthetics in his work brings out a sharp volume in the matriarch figure, where the figure adorns the child by offering a physical and metaphysical sanctuary. As one looks through his creations, one encounters a deep sense of pride in the beauty of camaraderie and bonding. To him, perhaps, this blinding sense of faith in interpersonal relationships remain intact and clouded in the ambiguous nature of its own enactments and attachments as variable experiences.

Again, this ambiguity also extends itself to the idea of consequences, which can be seen as possible inferences to death or, even, finality. The eyes of his figures remain shut, almost content. For instance, the blurring adds a dark established semantics to the closed eyes and one can see the portrayal as definite. The finality in their visage is a promise of the contentment that death has to offer as often described in the belief of ‘life after death’ or, perhaps, the importance laid on the sense of completion. One may wonder if this completion is a semantical investment in the idea of life cycles – maybe, even an investment into the idea of longing.

Gnana’s work views nostalgia as a technical skill, where each brush stroke reworks through vibrant colours depicting energy and consciousness. This nostalgia is the actual subject that he layers in his concerns with finality. Therefore, reverberating through bold, bright colours, the viewer is exposed to Gnana’s work as a metaphorical expression of death, nostalgia, and metaphysics.

His paintings and sculptures refer to the element of excess in South-Asian aesthetics, where he occasionally toys with a glossy finish as the final act of art-making. The glossy texture, simultaneously, projects the notion of a refreshing textural engagement which the artist serves as his take on his subjects.

Gnana’s artistic language also sheds light on the spiritual narratives. Krishna plays a pivotal role of form and philosophical engagements. His flute and his cow hold an important visual position relating with the artist’s creative realm and his insight into vast cosmic belief systems. Here, the figure of Krishna is peaceful and involved in his own love for music while music becomes Gnana’s means to engage with the Arts in a more precise manner.

Interestingly, his bold, dark skylines depict the enormity of the spiritual inclinations. They feature the depth of his spiritual vision too. Simultaneously, his engagement with family and motherhood consists of the qualities of nourishment and health.

Again, there is a tendency in the artist to partake in the aesthetics of glamour, where we are exposed to intricate embellished details on the fabric of his figures. These details are made in gold paint that add the grandeur value and, with the gloss on top, they begin to turn towards a sheen sprightlier than the other colours. Motifs of flowers, leaves, paisley, and similar other popularised vernacular embroideries on the clothing’s of his protagonists makes his paintings a commentary on the various traditional schools of art-making. Also, there are times when the artist has indulged his creations in exploring found objects, such as textile and playing cards.

Gnana’s artistic pursuits lead him through a strong sense of variants which he further elaborates in a more immediate flavour. It is particularly important to look at his personal journey that has led him to this blending in schools.

Another drama unfolds as we look through his works, where we see the beauty of his forms stage itself beyond the source of reflection. It contemplates love as an action of attachment and interacts with ‘shared’ emotions or bonds. Romance and the celestial beings in his work brings forward a realized strength of the self. He approaches the subject through a visual language of grandiosity similar to the ‘secession’ movement in the Arts. The hint at the Apollonian structures is quite evident in his sculptures too. The drama of the tall, stretched bodies adorned in the marvels of designs and embellishments also hint at this possible influence.

– Satarupa Bhattacharya
Presented by Easel Art Gallery

The Dancer, Model, Actor, mimic – all rolled into one meet Abhinav, the special kid.

Arms outstretched; Abhinav delivers Shah Rukh Khan’s signature pose to perfection. Meet Abhinav, a special kid, who by his grit, has achieved what most others only dream about. Abhinav has the congenital condition of Down’s syndrome (DS). The occurrence of this condition is about 1 in 1000 births. It is an intellectual disability and makes the kid special. Abhinav and his mother Neerja, share the story of their conjoined lives with Art Soul Life.

Where Abhinav lacks in terms of IQ, he more than makes it up with his EQ (Emotional Quotient). Bearing a congenial countenance, he has a disarming smile which puts those around him quickly at ease. Mild mannered and affable almost to a fault, it is impossible not to like Abhinav.

“It was tough, very tough,” Neerja recollects stoically. “Every day was a battle, and in many ways, it still is. Many people would not allow their children to play with Abhinav. Some used to ask us whether Abhinav was insane and feared that he might throw stones at other children and hurt them. Abhinav wouldn’t even hurt a fly, leave alone pelting stones. Abhinav used to ask me very innocently as to why other kids did not play with him. It was absolutely heart breaking. Well, such is the world we live in. There is a definite bias and several prejudices against special kids. But he does have a few good childhood friends, thank God for that.”

When asked about Abhinav’s talent as a dancer, Neerja went on to recount how and when it all started. “Actually, he was born with it. He always had a penchant for dancing. Beats and rhythms got to him in a way that is difficult to describe. Early on, he used to dance to the tune of TV commercial jingles and even to phone ring tones. Whenever invited to a party, he would first enquire if there was going to be a DJ. He would go to parties only to dance. Food, fun and frolic never mattered to him.”

Studies were tough for Abhinav. He was home schooled and managed to complete his secondary school. Meanwhile, he got praises from various quarters for his flair for dancing. At this stage he decided that he would pursue his passion full-time and become a dance performance artist. He enlisted at a Shiamak Davar Dance Academy to learn dance formally. However, most of Abhinav’s dancing is self-taught. Abhinav’s performs in Contemporary, Hip Hop and Bollywood dance styles, with the latter being his favourite. Amongst the actors known for their dancing prowess, Hritik Roshan is Abhinav’s favourite. Abhinav’s success mantra is to recognise one’s abilities and strengths and then work hard upon it. Abhinav credits his success to his mother, Neerja. Neerja has always encouraged him and stood by him. She is mother, friend, confidante, dance partner (when needed) and chief motivator to Abhinav. Abhinav gets “the never back down” streak from Neerja.

Abhinav is twenty-four now and has performed in more than 250 dance shows. He has also participated and has featured in many TV reality shows. Besides dancing, he is also making his mark as a promising actor and model. Very recently he has modelled for a Google advert. He has won more than 100 awards and citations, amongst them most notably, the President’s award National Award 2023 for “Shreshth Divyangjan” in the field of Art & Culture. The Award was conferred by Honourable President of India Smt. Draupadi Murmu.

Giving back to the world, Abhinav has started a modest dance academy at his residence, teaching other children who have Down’s Syndrome or are autistic or under privileged. This is entirely pro gratis.

Closing thoughts shared by Neerja

“A lot of work needs to be done by society to make it more inclusive and empathic towards special kids. Sometimes parents of special kids are to blame too. Some parents confine their special kids to their homes. They do this out of shame and some think that it is for the best. How will kids blossom as healthy individuals if they are confined and isolated? Do this to a normal kid and, he too would grow up to be mentally stunted.”

Abhinav’s contact details and social media presence:

Email: chaudhary.abhinav18@gmail.com

Youtube: Dancer Abhinav Chaudhary

Instagram: chaudhary.abhinav18

Facebook: Dancer Abhinav Chaudhary

Ph: +91-7838882269

Advaiya Bhraman, a solo exhibition of Aarti Zaveri features salient works curated from her entire body of works

Advaiya Bhraman, an exhibition of paintings along with installations and video art by Aarti Zaveri, was held at AIFACS in New Delhi, from September 15 to 28, 2023. Aarti Zaveri, a seasoned multidisciplinary visual artist, has three decades of artistic practice behind her.

She identifies herself as an artist of planet Earth with an inclusive world view. This perspective enables her to conjure up art that is not bound by language or geography. Her aesthetics have grown with her sensitivity and keen sense of observation particularly with respect to the changes in topography as a result of rapid growth and modernization, reflecting the impact of urbanization on our ecology.

Aarti’s creative verve is expressed through different mediums and forms. Right from painting, sculptures, installations, site-specific art works, to video art, she does it all. Human consciousness-centric, Aarti has had many thought-provoking solo exhibitions on varied subjects. Her own aesthetics in art have also transformed over the last three decades.

From being a celebrated portrait artist of gallant soldiers and martyrs of the Indian Armed Forces, to paintings that explore time, space and the mind, Aarti has moved into the realm of abstract works layered with complex thoughts.

‘Pehchaan’, Aarti’s mask series explores diverse human emotions. It started with her making army portraits, many of which adorn government offices including the secretariat building in Delhi. It made her view the real expressions one has on their face and not the one that is just a flitting glance. The artist shares her thought process on mask and says, “My mask tries to convey that everyone carries a great light within, a treasure, one should introspect and try to discover their own centre. My masks are not asking to renounce materialistic things, but to renounce the greed, selfishness and jealousy that the mind loves to feed on. That is the real problem today. It is blocking the way within which I would call the centre. Rejoice in the state of not-knowing and great wisdom will be released, the peace within will be awakened. Only that will give you the taste of eternity.

Her ‘Life (+-)’ is a mixed media on canvas which were created during the testing times of the Covid pandemic. Then there is ‘Jigsaw Puzzle of Beautiful Life’ where life is premised as a puzzle and of trying to fit in features in another thought-provoking series of paintings. The idea of time is central to a whole exhibition leading to another one dwelling on timeless moments. The fluidity of a clock in images creates a whole new narrative. These journeys of paintings are interspersed with site specific installations and public art including international participation and projects to create awareness about subjects that she holds dear to her: Nature, its elements particularly water and rivers to the Fragility of the Habitat. This latter was a large public installation at the India Habitat Centre, Delhi this year.

An interactive session with Aarti Zaveri in the show provided an opportunity to gain insights into how an artist grows in understanding, the creative churning of subjects that play a role in shaping works and enable viewers to have a new perspective. Art has the ability to bring about changes both at an individual as well as collective level and that is something central to Aarti’s aesthetics which focuses on the ability of art to transcend boundaries and boundations.

Ganesh Dhareshwar has tried to explore the social, cultural and even spiritual understandings, freely transcending the rules to offer a visual treat, says Alka Chadha Harpalani.

Madonna Ciccone had aptly put it, “I am my own experiment. I am my own work of art.” In the same vein, Spiritual Rumination, an exhibition by Ganesh Dhareshwar dares to plunge into innovative domains- parallel and overlapping ones too, holding onto both conventional and experimental approaches. What connects an onlooker to works of art is the treatment, letting the eye travel in waves, which sustained numerous creative levels. The artist has tried to explore the social, cultural and even spiritual understandings, freely transcending and letting the rules knowingly and unknowingly combine in certain ways to become a visual treat. At one point there’s calmness, at another there’s an aptitude to interchange swiftly from one stylistic language to another. It churns one’s mind, and shakes it to rethink and refocus. The show embraces the shift of the themes.

One can feel the dynamism and extemporaneity of lines and brush strokes in the play of white, greys and blacks in the abstractions. There are deliberately elongated arms and distorted human figures taking mind back to El Greco’s art. The forms are nestled in colours, jute, tapestries, embroideries and weavings. Uneven patches stitched over the canvas and forming asymmetrical shape, blended with calligraphy or random script harmoniously get adjusted in between the patterns. ‘Finding my pearl’- a gigantic and impressive installation greets everyone as they enter the exhibition hall, with black shining, handmade, teakwood seashell forms, hanging and lying around on a pedestal over the white pebbles. As per the artist, the artwork represents “a precious moment one lives in, denying its perfection and yet searching for right time to enjoy life, while the actual one is simply slipping away.”

“A collage of percussion instruments helmed the table leathers with hints of glitter, the installation poses questions and provokes askance. Ganesh Dhareshwar at a relatively young age exhibits vintage insouciance…

Meditative struggles of temperance within and emerging realities are some of the themes that speak in telling decibels of angst and silence. There are very many vicissitudes of functional challenges that are intermittently experimented with. The design grammar is a smorgasbord and acutely symbolic with a plethora of cultural possibilities and pluralism. He covers a wide range gambit extending a contemporary vibe to a circular formation of chairs that reflect the work and life dynamic of urban climes and connectivity of tech and the hapless souls. It is quite an experience and many a flailing erupts of challenge” says Kiran Bagade, curator and art historian.

The exhibition is like a roller coaster of fluctuating considerations, but the strong thought process is so obvious behind each expression whether it is in a painting, installation, assemblage or a sculpture. A new indicative and playful message- with nature, birds, human, technology, mirror and illustrations- enwraps ‘on, over and behind’ each broken, asymmetrical, barren or reclining chair displayed in a circle; while there are connotations of vicious satire in a chair full of nails kept over a royal carpet, telling a story of accountability and challenges which come with a responsible post. Another scene in the Hall captures the narrative scrolls overflowing from roof to the floor. Eye moves evenly and suddenly a newfangled intriguing medium pops up. Sets of worn out and torn tabla tops, compiling of the bayan and dayan, bejewelled with white, blue and ochre colour dots, have been aesthetically displayed over a wall adding more beats and notes to the concept. Installation with bricks, horns and mud reflect artist’s cultural aspect. The presentation, which spread across four galleries in Chitrakala Parishath Bangalore from June 16 to June 21, 2023, had an entirely professional essence where in the wholesome harmonious collaboration, even the infinitesimal of the details has been kept in mind by the curator CS Krishna Setty- an eminent artist and former chairman of Lalit Kala Akademi, New Delhi. He sums up the works of Ganesh aptly in his words, “Sri Aurobindo opines that the first and the lowest use of art is purely aesthetic, the second is the intellectual or educative, the third and the highest the spiritual. Ganesh Dhareshwar’s recent suite of works resonate the same concept, but he enlarges these in his own way. He has been following the usual modern troupe and now drastically changed his iconography and trajectory of search into rapidly changing times.

As quoted in Sivasutra, ‘embrace the destruction of the old to make way for the creation of the new,’ he delves into realms of spirituality to explore new interpretations. This upcoming artist is well versed in social and spiritual aspects too, and committed to bring the inner voices out, using symbols and metaphors. He juggles skilfully between varied mediums and genres depending upon artistic intent. Being a vociferous visual composer with an acute sensitivity to his surroundings, Dhareshwar uses his observation skills to context to the emerging beliefs of the visual world.”

Broader class of artworks can not only drag out various suggestive or evocative words like ‘contemplative’, ‘optimistic’, ‘balanced’, ‘spiritual’, ‘repetitive’, ‘experimental’, ‘ornamental’ etc but also point out towards wider beliefs, cultures, realizations, emotions, views and perspectives. There is an obvious ‘over the time’ evolution of an artist. About his re- enactment of a ritual, Ganesh says, “My works are the manifestations of my conscious and subconscious mind. Though it is not as profound as the one who reaches the higher levels of pure consciousness in meditation, I believe that the total surrender and involvement with the work process in any good practice makes it never the least either. It is not that I don’t have any doubts.

Neither are these my extreme works I possess, nor do I continue to believe the same without change. I certainly accept the flaws which I find in them but as of now, I genuinely feel that these are righteous deeds which I’m showcasing here.” Overall, the show was an interface of verbal and spatial acumen, multisensorial reliance and an inclination for and openness to boundless involvements.

Alka Chadha Harpalani is an artist and a writer based out of Bangalore. She can be contacted at alkachadhaharpalani@gmail.com