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4 Feb 2020

Interplay of Visual Contrasts

Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora

Painting by Vaman Pai

The ongoing exhibition of paintings by Vaman Pai and ceramics by Gomathi Suresh at Gallery Manora, explore abstract imagery through two diverse visual mediums. The show is curated by Giridhar Khasnis, who writes, “Involved in different mediums, they create works that are not fixed on any particular notion or theme but imagery that is free and open to interpretation. Silent yet evocative, their abstract constructs and formations are coloured with introspective tones and designs.”

Vaman is a Bangalore-based painter and sculptor, who is essentially self-taught. G S Shenoy, the late senior artist known for his abstracted landscapes had a large influence on his artistic vocabulary. Vaman has been painting landscapes for several years and in this series, his works display a natural fluidity and eloquence. There is an evident spontaneity in the rendering and an inclination to capture subtle atmospheric nuances. Inspired by nature, and the colour and vastness of the sky, he has employed a predominantly blue and white palette, experimenting adroitly with gentle patterns and textures.

Ceramic by Gomathi Suresh

Gomathi Suresh is a Sydney-based ceramist and art promoter, who has exhibited her works in several group shows and at the Ceramic Art School, Tafe Sydney where she completed her 2-year diploma in ceramic art. She is currently pursuing a 2-year advanced diploma in ceramic art.

In this series, which has been produced in response to Vaman’s paintings, her concern for environment, climate change and ecological sustainability form the underlying subtext. She explains, “My body of work for this exhibition is an immediate and gestural response to the painterly abstraction of Vaman Pai's works whilst maintaining the unique nature of my own making, use of surface treatment and three dimensionalities.” Her works often reference land forms and memories of landscapes from her travels around the world.

Gallery view of Juxtaposed by Vaman Pai and Gomathi Suresh at Gallery Manora

Adopting multiple techniques, ranging from the traditional to the more experimental, Gomathi has played with glazes and firing processes to achieve textures, patterns and compelling visual effects that emphasize colours and surface expanses. She says, “l have ﬁred my works several times to achieve painterly, layered atmospheric depths, closely akin to watercolor effects on textured paper; deliberately exposing the marks of my making, just as a painter would with his brush strokes, creating abstract surfaces evoking perhaps the warmth of a sunrise, the mystery of a dark starry night, the glow of sunsets and or an icy bare landscape.”

The commonalities and contrasts explored in the exhibition form an interesting interplay of visual coherence through pluralities of materials and mediums, and artistic viewpoints.

The exhibition continues till Feb 20, 2020 at Gallery Manora

Gallery Manora

55,100 Ft Road Off,9th A Main, Indiranagar-1st Stage, Bengaluru 560038, INDIA.
www.gallerymanora.com

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All images are courtesy the gallery

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21 Jan 2020

Art News: Juxtaposed by Vaman Pai and Gomathi Suresh

G A L L E R Y M A N O R A

J u x t a p o s e d

V A M A N P A I / G O M A T H I S U R E S H

C U R A T E D B Y G I R I D H A R K H A S N I S

January 23 to February 20, 2020

GALLERY MANORA presents Juxtaposed, a two-person exhibition featuring a series of new paintings by Vaman Pai and recent ceramics by Gomathi Suresh. The show opens on Jan 23 (Thursday) and runs through Feb 20.

Juxtaposed by Gomathi Suresh at Gallery Manora, Art Scene India

For both Vaman and Gomathi, creation of art is intrinsically linked with intuition, imagination as well as life experiences. Involved in different mediums, they create works that are not fixed on any particular notion or theme but imagery that is free and open to interpretation. Silent yet evocative, their abstract constructs and formations are coloured with introspective tones and designs. Their common interest in grasping contrasting and complementary views of nature and human feelings manifest in their work. At a particular level, their works seem like mindscapes searching for an unknown idiom and ineffable beauty.

Vaman’s dynamic work with free flowing forms and multi-coloured smatterings exposes his creative energy, fertile imagination and fearless approach to art making. Connecting the tangible with the abstract, his paintings seem to find life both in the fluctuating moods of vibrant spaces as well as the mysterious layers of darkness.

Gomathi’s ceramics with meandering shapes and gentle curves reveal a slow and studied process along with a personal and poetic handling of the delicate material. For this body of work, she has used organic hand-built and thrown forms in heavily grogged stoneware clay. One can see how by treating the surface of layered underglazes using multiple firing techniques, she has brought in both depth and texture to her intriguing works.

What appears central to both the artists is the natural response to the chosen mediums. There is also a craving to be part of the ‘give-and-take’ interplay of forms, ideas and actions. Most of all, it is interesting to see how the artists have inspired each other even while keeping their practices independent and non-intrusive on each other.

Juxtaposed opens on Jan 23 and runs through Feb 20, 2020 at Gallery Manora

Gallery Manora

55,100 Ft Road Off,9th A Main, Indiranagar-1st Stage, Bengaluru 560038, INDIA.
www.gallerymanora.com

*Excerpt from the press release
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All images are courtesy the gallery

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7 Jan 2020

A Journey Into The Past

Nostalgia in Stone

Manjunath Wali’s recent series of paintings depicts landscapes around prominent heritage sites, primarily those located in and around Karnataka, capturing their essence. He brings alive these landscapes that have withstood the passage of time, imprinted with narratives from a distant past.

All works in this series have been rendered plein air, on site, in an effort to represent the ephemeral atmosphere, the changes in light and colour, and effects of light and shadow prevailing at the place. The vulnerability of the monuments and the locations are evident in the rendering; the onsite painting emphasizing the immediacy and transient nature of the event and locale.

The artist’s hometown Vijayapura, and Gadag, where he studied art, are important historical places with several specimens of Chalukya and other significant articulations in close proximity, which kindled Wali’s interest in history and architecture. Combined with his artistic sensibilities, these have formed a recurrent muse for him. Wali’s fascination with these locales has resulted in repeated visits to Hampi which have materialised in this body of work and form a large part of it.

‘Nostalgia in Stone’ captures the paradoxes associated with the sites - the fragility and notions of (im)permanence of the monuments constructed in stone, and the associations with culture and heritage as tangible artefacts. Wali adopts a naturalistic approach, with a focal point, and illusion of details in the foreground, allowing the backdrop to diffuse and recede into the distance.

The soft, sentimentalized atmosphere and the play of light form a sharp contrast to the stone monuments that heighten their frailty and vulnerability. The numerous surviving ruins of Badami, Hampi and neighbouring areas - the Agastya lake, Hemakuta hill, Virupaksha temple, the watch towers, Lotus Mahal and the famous Garuda Shrine are some of the historical landmarks depicted in the paintings.

The morning light, the glorious sunsets and the afternoon shadows frolic amidst the ruins to render an enchanted image, recapturing some of the lost grandeur of the place. The sparkling pools of reflection from the water bodies, dazzling temple gopurams in the sunlight, the view from the watch towers, the glorious Garuda Shrine in the form of a chariot in the Vittala Temple complex that appears to be monolithic, offer glimpses of a magical past.

Wali’s body of work, a visual artistic documentation, is a significant attempt to emphasize concerted efforts required for conservation and preservation of heritage*.

*Excerpt from the catalogue text by Nalini S Malaviya

‘Nostalgia in Stone’ is on at Reves Art Gallery, Bangalore till 12th Jan 2020

All images are courtesy the artist

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28 Nov 2019

Waves of Imagination by Humera Ali

Bangalore based artist Humera Ali presents her recent body of works in her second solo show at MKF Museum of Art. Employing abstraction as a tool to convey her concerns for nature and its conservation, Humera depicts landscapes as large expanses of textured colour fields. She says, “Unleashing years of latent creativity, the show is oriented from my love for nature that transforms my rendition in a natural leaning towards abstraction.”

Verge of Dawn

She attempts to capture the gentle gradients of the terrain, the glimmer of sunlight on land and water and the various movements observed in nature. “My brush strokes using acrylic medium are seen as ‘bold’ and pigments used as ‘strong’ while being inspired by pointillism and knife art as a medium and technique. Observing the veins of a leaf, the textures created in water on a pebble are details seen in my creations.”

Marine Collision

The lyrical movements, patterns and textures inherent in nature are translated on the canvas. “My series on water is to recreate the beauty of the sea in tranquillity or rippling waves on the sand as I observe and create forms through a rhythmic pattern. Every canvas translates into a meditative experience with the intention to take the viewer in a narrative that transcends into another realm of their imagination.” The tender approach to painting reflects in the serenity of the works and the light and shadow effects displayed through tonal variations.

Confluent

The series of works aims to also emphasize on the need for immediate action in cognizance of rapid urbanization, climate change and global warming. “I use the canvas to express my intense feelings with a strong message to conserve nature as global warming has given rise to water levels with repercussions of land that is fast receding.”

She emphasizes, “this show is a plea to all who respect the vagaries and strength in nature to continue the movement of protecting our planet.”

Humera is a self taught artist driven by passion, she was later mentored by the Bangalore based senior artist JMS Mani. Her works are part of collections in South Carolina, Sydney and Canada. She also does community service by giving art therapy to children with chronic illnesses providing them with a healing touch.

Meet the artist on 30th November 2019, 4 pm onwards

Waves of Imagination by Humera Ali, from 30th Nov - Dec 18, 2019 at MKF Museum of Art, 55/1 Isha Villa, Lavelle Road, Bengaluru 560001

Timing 11-7 pm.( (Monday closed.) Contact +91 7373 887 557

All images courtesy the artist

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23 Nov 2019

A Journey Through Art by Anand Bekwad

Anand Bekwad's visual travelogue captures the mood and atmosphere along with the architecture and social fabrics of the cities and heritage sites that he visits. The depiction, follows the evolution of cities along important river trails that have been the genesis points of religious and cultural centres. Bekwad paints these as vibrant landscapes filled with energy and life, attempting to capture their historicity and distinctive character.

Blue Banaras - acrylic on canvas

"The series - ‘A Journey Through Art’ brings together a journey highlighting the artistic learning, philosophy and process of various art forms and sensibilities of the two regions, fascinated by its ghats, river, the people the city attracted and its bylanes throbbing with energy. Anand Bekwad, known for his watercolours and acrylic tries to narrate the journey of water with different landscapes of Rameshwaram, Madurai and Banaras. Certainly been in his mind he aims at publishing ‘views’ of the city from ‘complete plates and finished watercolours. Capturing through vibrant splashes of colour, and fluid line-work both the liveliness and poignancy of a timeless pastoral visual text," writes Ruchi Sharma in the catalogue.

Banaras evening light - -acrylic on canvas

In this series of paintings, Bekwad has worked with acrylics on canvas, deviating from his preferred medium which is watercolours. The Northern Ghats and the temples from South India form focal points of depiction in these works. The Benaras series include scenes around the river Ganga, with its Ghats, temples along the riverbank and other architectural features. The stories of the past and those of the living merge seamlessly on the canvas to create vibrant stills.

Chethshingh fort - Acrylic on canvas

'A Journey Through Art' is on view at Kalakriti art gallery, Hyderabad, till 29th November 2019

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