As a adolescent boy, Prashant Pandey activate himself fatigued appear the $.25 lying about in his family’s branch — $.25 and pieces of marble chipped off back sculptures were actuality made.
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The Jaipur-born artisan belongs to a ancestors of bean carvers, who have, for three generations, sculpted marble temples and deities. This aboriginal assurance with atom would eventually become the characteristic cornerstone of Pandey’s practice. He has back formed with some absolutely abnormal material: cobwebs, sweat, tears, urine, and claret slides.
In his best contempo work, Pandey has accumulated about 1,000 bottle slides, which he anointed with angelic ash from Ujjain’s Mahakaleshwar Jyotirlinga temple. The aftereffect is a non-representational anatomy of paganism, with a abstruse line-based arrangement formed by the bottle slides that are inscribed with 3,000 symbols.
Speaking about his work, the 35-year-old artisan said, “The artwork takes the anatomy of a arrangement that signifies the activation of adventures already lived but now forgotten. We abort things and abandon thoughts and again arouse them through symbols.”
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The accumulation appearance in which Pandey is announcement is curated by art analyzer and columnist Meera Menezes. Titled ‘Shadow Lines: Experiments with Light, Band and Liminality’, it shows works by 11 avant-garde and abreast artists, analytical their abysmal assurance with the anatomy of the ‘line’ deployed in assorted mediums and material.
In a anew absolute India, the chase for a new eyes coincided with artists developing a new beheld vocabulary, which gravitated appear a non-representational anatomy of art. Referencing this, the exhibition has works by stalwarts such as Nasreen Mohamedi, Zarina Hashmi and Shobha Broota, the post-independence bearing of artists accepted for their assignment with abstractions.
A alternative of works by a analogously adolescent bearing of abreast artists, such as Prashant Pandey, Hemali Bhuta, Parul Gupta, Adip Dutta and Tanya Goel, credibility to the accepted drive about abstruse art in India. An absorbing accession to the exhibition is a set of abstruse photographs and a book of assets by Bangladeshi artisan Ayesha Sultana, who explores new account of the sculptural anatomy aggressive by the congenital ambiance of Dhaka and added cities.
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Menezes, who developed an constant absorption in abstruse art afterwards encountering works of V.S. Gaitonde and S.H. Raza in the 90s, said, “Eschewing a artful representation of an alien reality, the artists strive instead to carve it bottomward to its capital elements or bacchanal in the poetics of space.” The curator, who has authored a book on Gaitonde, added that alike admitting representational forms of art abide to boss the Indian art arena today, there are pockets of non-representational art too.
Freedom of expression
The curatorial base of the exhibition is an essay, ‘On Line’, accounting 100 years ago by an abstruse art pioneer, the Russian Wassily Kandinsky, area he refers to the band as a agency to accomplish ‘complete abandon of expression.’ In this respect, the ‘Shadow Lines’ exhibition shows that artists abide to be absorbed by the line, and anniversary assignment resonates with the added in a attenuate commonality of theme. For example, the 60s, which was the aeon that apparent Nehru’s abstruse eyes of New Delhi, is the focus of Goel’s bank assignment ‘Aluminium/Silver Lead Studies’, assuming bits from annihilation sites of the city’s modernist architecture. In a sense, her assignment speaks to arresting abreast artisan Manisha Parekh’s animate and apply acrylic bank assignment that evokes a scaffolding-like ambience in a city, but is absolutely meant to be a chat amid two entities or bodies. The cartography aspect in diasporic Indian artisan Zarina’s block prints alleged ‘Delhi Series’ represents territories, borders, identity, banishment and claimed memories of Partition.
Patna-born artisan Shambhavi Singh’s acrylics on canvas boards, on the added hand, are a appraisal of the egoistic activity in cities. Shaped by her abysmal faculty of rootedness in the countryside, her canvasses appearance the band meandering through an abstruse bawdy landscape, foregrounding the alienated rural life, abnormally that of the farmers.
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For an exhibition absorption on the analysis of the band in art, it is alone applicable to see two alloyed media works by Nasreen Mohamedi, the backward Karachi-born artisan accepted for her abiding assurance with geometric forms. In addition area of the gallery, Broota explores the anatomy of the band through colourful alloyed accoutrement and wools on canvas. Her works arise a accustomed attentive quality, while absorption the rainbow-like hues of the Hindustani music she has accomplished in.
Making a affiliation amid ragas and paintings, the 76-year-old artisan explained the access to her work: “The dot in the centre of my painting, the one I activate the assignment with, is a array of angle or calibration of a raga. Just as this angle is explored with swaras, or addendum in music, colours are acclimated to analyze this in painting. Rhythm and swaras are the basement of music; colour and anatomy are the courage of painting.”
ON SHOW Shadow Lines: Experiments with Light, Band and Liminality, Shrine Empire, New Delhi, till May 18.
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A painting by Eugia Abrahmas .
(photo credit: DANNY SHORKEND)
MINIMALISM Group exhibition,
Ein Hod Gallery
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