(Un)Contained a solo exhibition of paintings by Smita Verma

Curatorial Note

‘(Un)Contained’ is an extension of artist Smita Verma’s previous body of work, a nostalgic memoir of her childhood and home in Rajasthan, viewed through a lens of longing and wistfulness. The built environment and the sky, symbolic of hope and infinite possibilities amidst the urban landscape, continues to form the core of her visual schema. Smita navigates the numerous characteristics, complexities and dichotomies of a city as an organic, living entity that expands its physical boundaries over time, and is perceived as a land of dreams and opportunities. Despite being mired in conflicts and anxieties, the city appears as a mirage, a utopian dream, for many.

Long Haul by Smita Verma

Smita attempts to reconcile memories of her childhood with the currency of her life in Bangalore, situating it against a city, with a rapidly evolving landscape. She finds solace in watching the infinite stretch of the sky, an expanse of azure blue shared with loved ones back in Rajasthan, her childhood home - a connect that keeps her centred. Thus, the sky in its varying colours, from a pale cerulean on a clear summer day, a fiery crimson and a golden hue with the setting sun, to an inky black bathed in moonshine, forms the backdrop for each of her work.

 

The meticulously arranged buildings on her canvas belie the chaos that typifies urban planning and life. The comingling of varied styles of painting on a single surface creates a distinct visual vocabulary, a fusion of tradition with contemporaneity. Having learnt Kangra painting from a noted traditional artist, Smita incorporates elements from miniature style of painting in the detailing of the foliage, the clouds, the skyline, and in the blocks of buildings. She also opts for a two-dimensional perspective, at times, which references Indian miniature painting style. In most of the paintings, naturalistic rendering is interspersed with miniature elements and motifs to represent the inherent complexities and the dichotomy of a city’s charm and appeal.

Panorama by Smita Verma

The sharply delineated buildings, stylised at times, but disrupting the horizon in a marked manner, intensify the contrast between the blended hues of the sky and the foliage, acting as a metaphor for the conflicts, challenges and the joy and fulfilment contained within the confines of a city. Several such paradoxes are amplified in the juxtaposition of pictorial elements. Glittering windows in the tall skyscrapers, vestiges of floral blooms and trees around the concrete structures, and the sky in its glorious splendour, recreate an illusion of calm and bliss.

The absence of human figures alludes to the sense of isolation that pervades despite the bustling nature of the city. The silence and stillness is palpable, a moment in time as if suspended unnaturally between the past and future. Winding roads, flyovers, playgrounds and fields, and walkways are lined with foliage and an abundance of concrete structures. Relics of histories appear in the form of old buildings and monuments that are resplendent yet dilapidated; fallen flowers cover a derelict car as an ode to the numerous blossoms that once lined Bangalore roads, lush green foliage adorn the top of the buildings offers a satirical view of the concrete jungle that has now replaced the natural cover. Notions of conflict between man and nature, and the irony of progress amidst ecological deterioration through urban landscapes present the decay in its sartorial beauty.

 
Nalini S Malaviya
Curator

(Un)Contained is on view at Lalit Kala Akademi, gallery no. 3, New Delhi, till 23rd Jan, 2024

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.


To contribute articles, please get in touch at artsceneinfo@gmail.com

Also read,

• Art Scene India presents Convergence
• Art News (Bangalore) - Reimagining: (Un)Reality and Space
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• 5 Reasons a Good Catalogue Text is Essential for Your Art

Art News: 'Bend' - A solo exhibition of contemporary sculptures by Kalyan S Rathore

'Bend' - The Nature Of Change And The Order Of Repetition

A solo exhibition of contemporary sculptures by Kalyan S Rathore

Curated by Nalini S Malaviya

till September 29 at Gallery Manora, Bangalore

Aesthetics in Distortion

The preciseness of mathematical rules, the natural order in nature and the variants that occur during repetition, lie at the core of Kalyan Rathore’s art making. His sculptural installations derive inspiration from form, structure, space and aesthetics that occur in nature - as an innate incidence. Rathore explores elements of design, formation and spatial arrangement as observed in nature and their underlying patterns of morphology to recreate them in his sculptures.

Rathore has been working as an industrial designer and has conceptualised and created several large scale installations, which have been based on mathematical algorithms, and employ multimedia. Applying principles of progressive distortion, he repeats patterns to create motifs that resemble flora, fauna and naturally occurring elements. The sculptural forms appear to grow organically in a sequential manner, mimicking growth and patterns in nature, yet are reduced to a minimalist form that captures the essentials - the essence of the shape, form and motif in a geometric layout.

 ‘Bend’ explores the variant that alters the mathematical code at the fundamental level, albeit from an artistic perspective, while applying mathematical rules such as the Fibonacci sequence and other relevant formulae responsible for the progression. For instance, the fractal defines a form created by repetitive application of a mathematical rule, where the form does not have to be homogenous, but it is precise. In the event of an error or variation introduced in the rule, the precision gives way to a slight distortion of the form, while retaining its essence, which is close to what is found in nature.

In the current suite of works, ‘Bend’ employs stellation to build the polytopes with new figures and forms - the essence of floral and animal figures, and patterns prevailing in nature. The sculptures explore plurality of probable motifs, genesis of natural forms, germination of organic life, and a multitude of possibilities that manifests in nature as an intuitive process.

Nalini S Malaviya

Curator

Bangalore

August, 2018

(excerpt from the curatorial essay)

Artist’s Statement:

Reality is warped. Straight lines are ‘straight’ only under the frame of reference we choose to adhere to. Mass is the summation of energy and Energy is an equally distorted idea too. We are left with no friendly-concepts in science when Quantum-physics walks into the room. The more we explore the more we push the wrinkles of uncertainty around the corner. This is not just a metaphorical position but one that rings true in the scientific communities as well.

‘BEND’ is my ode to the world of distortion. Distortion by design and Design by repetitions. Mutations that are born out of repetition and change.

Perhaps the key to chaos is in Order. Can this order be harnessed and explained? The answers may lie in nature. Where nature chooses Geometry as a guiding template to render herself. I seek to find the common elements in every form; from an Atom to the Universe. In flora and fauna this seeming waywardness is apparent. On deeper inspection strict mathematical principles seem to govern the recipe for growth, structure and aesthetics. Geometry it appears is the solution nature turns to in order to negotiate and resolve the need for resources.

The sculptor in me wants to pin down a ‘minimum fundamental form’ that applies itself by replicating and changing at the same time. I present to you my series called BEND; The Nature of change and the order of repetition which is an ongoing exploration of Nature inspired structures.

The exhibition continues till September 29 at Gallery Manora, Indira Nagar, Bangalore

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India. 

To contribute articles, please get in touch at nalini.indianart@gmail.com

Also read,

Art News: Grazie Infinite by Shraddha Rathi in Bangalore
Art Mumbai: Written on Water curated by Sanjeev Sonpimpare
Reasons To Visit The 2017 Venice Biennale by Shraddha Rathi
Art and the Question of Authorship and Ownership in the Internet Era by Narendra Raghunath
The 'Reality' of Photo Art Today by Shibu Arakkal
A Tribute to Artist M.B. Patil by H.A. Anil Kumar
Art News: apexart Open Call for Group Exhibitions 2018-19
5 Reasons a Good Catalogue Text is Essential for Your Art
How To Write An Artist Statement
6 Tips On How To Approach An Art Gallery And Find Gallery Representation
Exhibiting Art in Non-Gallery Spaces
Guide To Exhibiting Your Artworks
How to Create an Online Presence

Art News: Grazie Infinite by Shraddha Rathi in Bangalore

Intersections of Infinite Possibilities

Shraddha Rathi explores the concept of gratitude, an expressive emotion towards an appreciation of life and for tangible and intangible gifts, in her new suite of works. She creates a narrative which is rich in emotional content and universal in its reach. From personal notes to community messages, the expanse of storytelling weaves a rich tapestry of chronicles, patterns and motifs of human sentiments, moments and memories.

Adopting a multi-media approach, Rathi, a practicing artist for more than fifteen years now, presents photographs, installations, paintings and a video projection in this exhibition. With this series, she emerges from the confines of traditional bounds and expands her artistic and conceptual horizons to put forth a body of work that has meaningful associations on a personal front and has implications for a larger context. 

In a significant shift this year, she created a gratitude bench with engravings of phrases and personal messages of thankfulness and appreciation. This bench organically evolved into the present suite of works and forms the cornerstone for her current engagement. Coincidentally, earlier this year she sighted the benches in Central Park, New York with their plaques that read out messages of gratitude, love, celebration and nostalgia. 

Thus, innumerable stories that are intimate and personal, which celebrate the joy of living and memories of life and loved ones, and that effectively translate this personal form of gratitude into community efforts, have coalesced to materialise in the artworks for Rathi’s exhibition. Photographs of plaques, benches and the surrounding landscape from Central Park form the artwork. In addition, inscribed messages on wooden benches, swings and a see-saw, and a video projection mapping of gratitude notes that projects the text onto various surfaces, including the witness/participant, are on display. Contextualising and integrating the notion of gratitude and its universality to Bangalore’s public spaces, conceptual maps of parks are represented in the paintings. The minimalist mappings offer points of reference to local contexts and create possibilities of artistic interventions.

The theoretical premise behind ‘Grazie Infinite’ is two-fold, to reiterate and acknowledge positivity as an indispensable emotion and to extend this engagement via site specific projects to the public arena. Rathi’s practice with this shift towards conceptual art and a minimalist aesthetics lies at the intersections of infinite possibilities, employing mixed media narratives and interactive experiences, while situating them within and outside the frameworks of conventional art locations.

Nalini S Malaviya
Art Critic
Bangalore, July, 2018

All images are courtesy the artist

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

To contribute articles, please get in touch at nalini.indianart@gmail.com  
 
Also read,

• Art Mumbai: Written on Water curated by Sanjeev Sonpimpare
• Reasons To Visit The 2017 Venice Biennale by Shraddha Rathi
• Art and the Question of Authorship and Ownership in the Internet Era by Narendra Raghunath
• The 'Reality' of Photo Art Today by Shibu Arakkal
• A Tribute to Artist M.B. Patil by H.A. Anil Kumar
• Art News: apexart Open Call for Group Exhibitions 2018-19
• 5 Reasons a Good Catalogue Text is Essential for Your Art
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• Guide To Exhibiting Your Artworks
• How to Create an Online Presence 

Art News: Re-presentation of Reality in Contemporary Art

Re-presentation of Reality in Contemporary Art 

 22nd Nov at 5.30 pm at Reves Art Gallery, Bangalore

Introduction: All works of art are representations of reality, whether that reality is made up of sensory perceptions, an inner world or a fictitious account. The various styles or forms of art making suggest different ways of looking at reality.  In today's context, mediums such as television and film, and technology such as virtual reality offer transformative experiences with varied representations of the reality and of imaginary realms.

New media and technologies have opened up possibilities, breaking barriers of time and space in two dimensional media, making it possible to simulate experiences involved in viewing and engaging with art. It also allows an amalgamation of the personal and the popular in novel ways.
The all pervasive nature of the Internet and wide use of technology have impacted art production and consumption, allowing multiple ways of creating and engaging with contemporary art.

About the Panelists

Murali Cheeroth 

Murali Cheeroth has exhibited in over 100 significant shows across the globe in the last two decades. His visual works refer to a wide variety of sources in the cultural sphere and contain within them a deep conversation with the history of representation in visual media, fine art, cinema, music and architecture. Within the context of the history of visual representation, his current explorations include the architecture of the city, urbanization and urban cultures. He looks closely at the ideas of re-construction, infrastructure, technology, speed and change, intersections of local and the global, multiple layers of urban identities and so on.

Some of his major exhibitions include ‘Passage to India’ – the New Indian Art from the Frank Cohen collection in UK (2009); Indian Art summit in New Delhi, SH contemporary Art Fair, Shanghai, Chicago Art Fair and London Art Fair in 2010, Colombo Beinnale, 2012, Chalo India – A group show of Contemporary Indian Artists at Basel Art Centre, 2014. Hotel Maria Kapel Korte Achterstraat 2a1621 GA Hoorn NL-2015, Art fair in Torino, Italy2015, The 2nd international art exhibition of the Silk Road, Shanxi Art Museum, China-2015. His art education includes a BFA and MFA from Shantiniketan, West Bengal and advanced computer diploma in digital media.

Ravikumar Kashi 

Ravikumar Kashi is an artist who works in different mediums such as painting, sculpture, photography and installation. His works combine or cut across defined expectations from these mediums. His idea / concept driven works are layered and connect with the viewer in multiple ways. Desire, decay and death are a major concern in his works along with introspection.

Kashi was born in Bangalore in 1968. He completed his B.F.A. from College of Fine Arts, Bangalore in 1988; M.F.A. from Faculty of Fine Arts, M.S. University, Baroda in 1990; and M.A. in English from Mysore University, in 1995. He learnt handmade papermaking from Glasgow School of Art, U.K. He also learnt Hanji, traditional Korean papermaking, from Jang Ji Bang, Korea. He has shown his works in solo shows and curated shows across the world in galleries, art fairs, biennales and museums. He has received National award from Lalit Kala Akademi, Delhi and two awards from Karnataka Lalit Kala Academy and one from Karnataka Shilpa Kala Academy for his works. He writes on art in Kannada and English. Two of his books, 'Anukta' and 'Kannele' have been published from AkshsraPrakashana, Hegggodu. His book 'Kannele' has received Karnataka Sahitya Academy award. He teaches at RV School of Architecture and Acharya School of Design as adjunct visiting faculty.

Shanthamani. M

Shanthamani. M has done a Papermaking Course from Glasgow, Scotland after finishing her Master of Arts (Fine) in Painting from the M.S. University, Baroda. Her Bachelor of Fine Arts in Painting is from CAVA, Mysore University. Her solo exhibitions abroad were “Neither Tree nor Ash” at Suzanne Tarasieve Gallery, Paris, France in 2016 and “Carbon Myths” at Gallery, Helene Lamarque, curated by Anne Maniglier, Miami, Florida, the USA in 2010.

Her participation in the Kochi Muziris Biennale, India 2014, in Art Brussels, represented by Suzanne Tarasieve Gallery, Brussels, in India Art Fair, New Delhi 2012, in “Critical Mass” Tel Aviv Museum, curated by Tami Katz-Freiman, Rotem Ruff, Tel Aviv, Israel, in “River, Body & Legends” a corpus multimedia presentation with two Women artists at Matighar, Indira Gandhi National Centre for Arts, New Delhi 2003, in the two person show held at Galerie Muller & Plate, Munich 2001 and the 10th Triennale-India underline her credentials as a contemporary artist.

In 2017 she was Artist in Residence at Cité Des Arts, Paris and in 2013 she participated in the International Bamboo workshop with the students of Ensad, Paris, in Saline Royale.

Nalini S Malaviya

She is a Bangalore based art critic and consultant. She has been writing for the media since 2003, and has been an art columnist for Financial Times (Delhi and Bangalore) and Bangalore Mirror. She has contributed to Times of India, Sunday Herald, Art and Deal, Art Etc., Art Journal, Art Fair and Lalit Kala Contemporary.

Her curatorial projects include Reimagining: (Un)Reality and Space, Irreverent Gene, Polynomials of Relevance and the ongoing Parallax of Visual Memories. She has published papers on Art, Artists and Society – Catalysing Social Change, and Linear Progressions: Tracing the Line in Karnataka for the Karnataka Lalithkala Academy Journal.

Some of her prefatory essays for art catalogues include 'Feeling Absence' a photography show by Shibu Arakkal, ‘Icons in our Midst’, New Delhi, essays for Yusuf Arakkal's catalogues and books and for artists Gurudas Shenoy, Milind Nayak and Suresh K Nair among others. She was on the Jury for the Lalit Kala Akademi National Exhibition 2017.

An occasional fiction writer, Nalini has published short stories as part of various anthologies, The Shrinking Woman, The Curse of the Bird and Bhelpuri. She publishes www.artsceneindia.com, a popular blog cum Ezine featuring art news, events and articles. She can be reached on nalini.indianart@gmail.com


Venue
Reves Art Gallery
Address;#32,Yedla's 3rd Floor,
100 ft Maranahalli Road,
Sangam Circle,8th Block Jayanagar
Bangalore -560082
Tel -080 48663224
Mob +91 9901931314

If you found this article useful, please share it using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.
 
Also read,

• 5 Reasons a Good Catalogue Text is Essential for Your Art
• How To Write An Artist Statement
• 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• Exhibiting Art in Non-Gallery Spaces
• Guide To Exhibiting Your Artworks
• How to Create an Online Presence

Art News (Bangalore) - Reimagining: (Un)Reality and Space

Reimagining: (Un)Reality and Space curated by Nalini S Malaviya marks the official launch of Yepart.com. The exhibition features recent works by Debraj Goswami, Kalyan S Rathore, Maripelly Praveen Goud, Muktinath Mondal, Murali Cheeroth and Venugopal VG

The show opens on 19 Nov 2016 at Hatworks Boulevard, Cunningham Road, Bengaluru and continues till 17 Dec 2016.

Reimagining: (Un)Reality and Space

Observation, truth and materiality interweave to create alternative realities that occupy a realm which is corporeal, yet fictitious, clouding lines of physicality of dimensions. The plurality inherent in existing and functioning within these coordinates, challenge and inspire individuals to examine the intrinsic harmony and conflict embedded in such systems, and simultaneously imagine new spaces. Notions of time and space amidst variables construct fresh associations and connotations, where the resulting topography is a visually enriching landscape capturing points of dissonance and accord, shifts in reality, and reimagined spaces.

The artists' critical engagement with the curatorial premise reimagining (un)reality and space, results in interventions, which explore and question notions of time, space, reality and the subjective relativity that pervades through these dimensions. Multiple realities emerge from stresses of urban living, where observation and truth is skewed and dependent on other dynamics. Ideologies contort for material gains and govern the present and the future. Cognitive and sensory perceptions distort from an altered state of consciousness. The time and space thus occupied is unreal and fabricated as a spontaneous outcome, which is ungoverned by design.

There is an attempt to delve into conflicts, and examine the inherent precariousness and fragility entrenched in natural systems, which are impacted by consumerism and materialistic trends. Reimagining spaces create virtual maps of imaginary loci, introspective journeys in search of the self and enquiries on the 'now' form intriguing visual chronicles of contemporary concerns.

Debraj Goswami contemplates an alternative state of reality that exists in parallel, blurring the boundaries of factual and unreal, and creating distorted dreamlike states. Subconscious preoccupations dictate existence, to assume a truth that is probably fictional and appears surreal. The complexities of living ensure that perceptions of real, unreal and simulated become indistinct and a machine made robotic existence dominates. Past, present and future concerns manipulate sensory reality to form a convoluted sense of the real, and living in the moment becomes a figment of imagination in unusual and often humorous ways.

Kalyan S Rathore’s sculptures exist in a metaphysical context, where time and space are no longer linear entities but transcend corporeal boundaries. The repetition of the sculptural unit akin to fractals in the universe, construct forms that are non-representational and non-specific to natural features. Conceptually based, they explore a fluid reality, while attempting to negotiate a labyrinth that forms life’s journey. The quest for the spiritual and transcendental leads to an introspective process that pauses for self-reflection, while encountering chaos and conflict during the course.

Maripelly Praveen Goud extends the materiality of the print medium to create virtual contours and linear graphs that map imaginary loci and places. Relying on scrunching the paper as a means to initiate cathartic release, the process spontaneously creates dimensions beyond the surface of the plane. The accidental lines morph into unspecified shapes, forms and maps allowing multiple readings - the markings could be representations of metaphorical sites or subconscious points of reference. The material and the medium combine to form layers of meanings within the conceptual maps.

Muktinath Mondal focuses on ecological imbalance, a disrupted equilibrium - a direct result of human interventions. He paints a stark image - black canvases that point to a dark reality, a glimpse into a bleak future that interrogates the very existence and survival of living beings. An increasingly fragile eco-system disintegrates and vanishes as a materialistic world prevails. Time as a distant phenomenon assumes vital relevance, and its catastrophic fate becomes inevitable, unless the current variables are harmonised. The red highlights in the paintings form the primordial link, the essential connective tissue between the various species including mankind, and which innately determines their coexistence.

Murali Cheeroth examines the notion of time as a relative value, with its meaning and intent evolving and transfiguring as a quotient of consciousness, application and relevance. Engaging with the interplay of text, material, texture and aesthetics, the concept of time morphs into multiple meanings and discourses, which reflect the subjectivity of viewing and reading into the artwork. Expressing time as a function of cognitive, linguistic and visual interactions, its reading draws from multiple standpoints, ranging from the personal to the historical. His performative artwork relates to issues linked to microcosmic spaces, which are intimate, act as receptacles of memories and share an indispensable interrelationship with the larger environment.

Venugopal VG explores the dichotomy inherent in situations emerging from urban living, and portrays complexities and dilemmas of reality. Pictorial elements indicating human emotions, desires and relationships construct paradoxes that emphasize the fragility of urban reality. Manipulating and combining physical, emotional and spatial derivatives, the narratives that are created are constructed to create a transmuted reality that is derived from factual components. Identity, migration, adaptability, and transformation are some of the critical issues that explore existential crisis to form imagery which warp representations of reality.

The exhibition will be available online on www.yepart.com from 19th November 2016.

Do visit the exhibition and share your thoughts in the comments section below or write on nalini.indianart@gmail.com.

If you would like to interview the artists, review or cover the event on your blog/website, or for any other media enquiries, please get in touch on nalini.indianart@gmail.com/ naozar@yepart.com/ +91 98450 06644 

If you enjoyed reading this article, do share it using the social media widgets at the top and subscribe to receive regular updates from Art Scene India

Related posts,

• Art Investment: The Fine Art of Collecting
• Art Advice: Market Mantra, Education Times, Bangalore
• TIPS: 10 Tips For Buying Art
• TIPS: 5 Reasons a Good Catalogue Text is Essential for Your Art
• TIPS: 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• TIPS: Exhibiting Art in Non-Gallery Spaces
• TIPS: Guide To Exhibiting Your Artworks
• TIPS: How To Write An Artist Statement
• TIPS: How to Create an Online Presence
• TIPS: How to organize an art exhibition

Art Advice: Market Mantra, Education Times, Bangalore

Nalini S Malaviya, an art consultant, critic and founder of an art information website, on growing opportunities for artists and allied professionals in her field

By BS Manu Rao

The Indian art market is rapidly evolving and expanding in width and dimension despite economic downturns. The last couple of decades have been responsible in giving an impetus to art activities, and in causing a surge in terms of awareness and interest in art. In recent times, several art fairs, festivals and significant exhibitions held across India have ensured that not only local audiences are engaged, but international participation has also grown. In fact, India is fast becoming a prominent player in the region as interest in modern and contemporary art has grown significantly across the world, and the events built around it are of global standards. International art auction houses are also viewing India as a significant market, which is also indicated by a surge in sales in modern Indian art at recent auctions.

Industry Status
With the growth in the Indian art market, not just artists but also other allied professionals such as critics, curators, consultants, restorers among others have increased opportunities for employment. The job description of an art consultant can be quite exhaustive and involve advice on investing in art, building an art collection for individuals and corporate, offering advisory services such as appraisals and valuation. It also involves interactions with artists, mentoring upcoming artists, writing catalogue text, curating art exhibitions and also has opportunities for teaching, conducting seminars, writing for media and advising start-ups on art ventures. As an established art consultant, one can work with artists, galleries, corporates and also art colleges.

Educational Qualifications and Skill Sets
Art history/criticism/curation/arts management backgrounds facilitate a career in art consulting. People from multidisciplinary backgrounds who are creative and knowledgeable about art, possess exceptional analytical and writing skills along with the ability to conceptualize and curate exhibitions can also succeed, but it is important to understand that one must be conversant and informed about art history, artists, global trends, markets, galleries and related topics. Irrespective of the educational background, art consulting is a demanding field and one must be willing to learn with experience and self-study. It also helps to be passionate about art and have networking skills, along with excellent communication skills.

Growth Areas
The contemporary art scene is expected to grow further; the online space especially is evolving at a fast clip and is expected to see more players. As corporates and other businesses become more sensitive towards the arts, the expertise of an art consultant will be required to bring in art based programmes, for instance, training and workshops for employees, activities as part of corporate social responsibility and other areas where art knowledge and creativity is essential.

Remuneration
Starting salaries could be low, but there are plenty of opportunities to freelance. It can be anywhere from Rs 20,000 onwards depending on your capabilities and skill sets.

-As told to BS Manu Rao

An abbreviated version of the above article was published in Times of India, Bangalore on 25th April, 2016 

Related posts,

• Guide: The Fine Art of Buying 
• TIPS: 10 Tips For Buying Art 
• TIPS: 6 Tips On How To Approach An Art Gallery And Find Gallery Representation
• TIPS: Exhibiting Art in Non-Gallery Spaces
• TIPS: Guide To Exhibiting Your Artworks
• TIPS: How To Write An Artist Statement
• TIPS: How to Create an Online Presence
• TIPS: How to organize an art exhibition

Art in Interiors: Art Installations to Complement Home Decor

An art installation can completely anchor the space and form the core of the entire designing concept, writes art consultant Nalini S Malaviya

Contemporary art is not limited to paintings and sculptures and one can use art installations even in residential spaces to complement architectural highlights. Now, when we see art installations in gallery environs it is often difficult to visualize them as part of home interiors. The materials used in an art installation, its size and the very nature of its site specificity contribute to its innovative allure yet makes it appear a little inaccessible. However, from a decorating point of view, these very factors make it a perfect choice to successfully adapt in home décor. 

 

As compared to a two dimensional artwork, a three dimensional installation allows space transformation at multiple levels and creates several layers of interaction with the viewer. It can be integrated with architectural elements to make it a seamless viewing experience and therefore works best if it is planned for right in the initial stages of design. These can be suspended from the ceiling, fixed horizontally to walls to protrude outwards or placed free standing on the floor to form visual partitions. These also work very well as a focal point of decor, or can even be designed to cleverly conceal functional and utilitarian pieces.

While planning for art installations, it would be important to consider the size and location of the space where you would be placing it. An installation is interlinked with the site of display and once that is final, the choice of medium becomes easier. Stainless steel, fiberglass, glass and light are popular media that can be used in installations with ease and have a spectacular impact. Suspended artworks with light can highlight the architectural feature as well as create visual barriers to demarcate the space. Giant abstract or animal motifs perched on walls or suspended in space not only make the ambience interesting and quirky but also make it unique. Similarly, art installed on terraces and gardens give an unmatched individuality to its environment. Then a multi-media installation or a technology driven artwork can be an interactive piece that can engage the viewer with the artwork. 

The important thing is that an art installation can completely anchor the space and form the core of the entire designing concept.

Published in The Address, Times of India, Bangalore on July 28, 2013