Naturescapes by Alaka Rau and Ilaa Pal

(By Nalini S Malaviya)

Both the exhibitions are inspired by nature but they differ greatly in the treatment and the result is for all to see.
Paika Alaka Rau presents her recent watercolors titled ‘Homecoming’. Her paintings are fairly conventional, brightly colorful and celebrate the traditional realism in landscapes. She says, “Although urbanization has brought in notable changes in the village scenario, I have tried to avoid them in my paintings and endeavored to capture the old ambience. A parallel may be observed in the style I follow. The world may have forayed into various levels of abstraction, aided by technological advancements. But personally, I enjoy capturing nature’s magnificence in her purest and untouched form.”


The exhibition is on till February 27, between 10:00 am - 7:00 pm daily at Bharatiya Vidya Bhavan, E Hanumantha Rao Art Gallery, Race Course Road, Bangalore –1


‘Linear Rhythm’ is an exhibition of recent works in different mediums by artist Ilaa Pal. The series is inspired by nature, and is mostly black and white. The works appear like fleeting glimpses of nature captured from a distance – subtle lines and patches of pigment delineate the canvas, and suggestive of a landscape. With minimal brush strokes, the landscapes hint at the topographical patterns, since the effect is of mist and haziness. There are a few paintings on silk as well, that are also inspired by nature. Pal is a self-taught painter, and has worked with MF Husain for two years. She lives in Mumbai.


The exhibition is on till February 28 between 11:00 am - 7:00 pm Monday to Saturday, at Time and Space Gallery, 55, Lavelle Road, Bangalore -1.

(Published in Financial Times, Bangalore)

Art Review - M Shanthamani

‘Gestures Speak’
By Nalini S Malaviya

Bangalore based artist M Shanthamani’s recent works are a take on the city’s phenomenal growth and evolution from a sleepy garden city into an IT capital. The dramatic metamorphosis -even as Bangalore makes a mark internationally, has inspired Shanathamani to take a closer look, beyond the glitter of wealth and progress and explore the ‘side-effects’ of this tremendous transition. Using hands, symbolic of a working class that slogs for more than eighteen hours a day, she questions the direction this economic growth is taking. As an involved viewer and also a bystander to this transformation, she comments on the cultural impact, the shift in mindsets and the lifestyle changes. The artist also analyses the effects of being brown-skinned, the apprehensions associated with outsourcing, and ambiguities that affect Bangaloreans. In a non-judgmental manner, she presents the underlying myths, the stresses and the controversies.

Shanthamani points out how the history of the city is getting lost or amalgamated in the newfound IT status. In the race for power and riches, other aspects of living have been lost. Finally, we are valued for the labor we provide. Is the city losing its identity? The whole controversy of outsourcing, and the insecurity that it has bred abroad - how much are we a part of this decision making process that affects our lives and our existence? Shanthamani’s paintings analyze and present the socio-economic aspect that defines Bangalore today.



‘Working class hero is something to be…’ words by John Lennon aptly describe the gigantic hands symbolic of the community that finds identification only through its work. Shanthamani explains, “I’m talking about being reduced to a pair of hands, constantly working for economic reasons since your product is removed from personal, cultural and spiritual moorings…. We’re removed from living. We now have only two mantras: Work and Money.”
‘The most precious thing in life don’t cost anything’ has a bowl of rice set against agricultural land in the backdrop, and stresses how we are distancing ourselves from our agricultural roots and adopting urban vocations. At the same time, it is a reminder that happiness depends on some of the most basic necessities. ‘Made in India’ done with paint and thread on cloth, reiterates the demand that exists for the traditional - a lost art in the West. A violent picture of a woman burning with two soldiers on either side, discusses fragmentation, strife and violence in today’s times. According to Shanthamani, it is also about the fear and insecurity of being a South-Asian, and facing suspicion from the West.

“Circus of Life” portrays yoga mudras to highlight the search for tranquility and spiritualism, while on the other hand street children perform acrobatics to make a living. “Pixellation’ narrates the story of the destruction of Bamiyan Buddha in this digital age.

Shanthamani insists the exhibition is not about opposing growth, but about recognizing and understanding what is happening. Large sized canvases almost like billboards help make a point. Gestures that are typically Indian add context to local issues against a global phenomenon.

(The exhibition is on till February 23 at Gallery Sumukha, Bangalore)

- Published in Times of India, Bangalore

Art Buzz

Art Investment

(By Nalini S Malaviya)

With an increase in awareness about investing in art, there are more buyers and the same time there has been a quantum jump in suppliers. Amateur art consultants, promoters and new galleries have mushroomed all over, and as there are an increasing number of players in the market it helps to go over a few points.

Fakes: Fake artworks of well-known artists are aplenty in the market and it becomes very difficult to identify them. Only experts can differentiate them and this usually involves a lot of money.

Quality: Art promoters knowingly and unknowingly push forward substandard works that have almost no investment potential. Especially, new buyers whose numbers have increased substantially in the last couple of years need to be extra cautious. It is absolutely essential that buyers - first time or otherwise must have some basic knowledge about art before investing. Art, an important asset is inherently different from real estate and mutual funds. It can be put up on the walls for its aesthetic content. However, if you pick up poor quality works, based on external advice, you not only lose out on its investment value but also on quality.

Remember, one cannot completely rely on art consultants and gallery owners. Even when you consult them, you must check out their credentials. In the recent past there have been exhibitions with students, and self taught artists (often hobby painters) where no one can guarantee their investment potential. Without any precedence, it is impossible to predict the future growth of an artist. Also, when galleries offer a buy back scheme, remember to check the fine print, because often the scheme covers their top artists and not every artist that they promote.

(Published in Financial Times, Bangalore)

Art Review - Tangerine group show

(By Nalini S Malaviya)

Tangerine art space has launched itself with a group show featuring works by fourteen artists. According to Leena Chethan from Tangerine, they zeroed on these fourteen artists after months of research, deliberation and screening with the help of art critics and advisors. All artists except two are still studying at various art schools across the country. Tangerine claims to have found “…14 of India’s most phenomenally talented young artists” whose “…works are affordable and still poised for a quantum leap in value in the foreseeable future.” Despite these tall claims, unfortunately, some of the works are bad, with blotched up paint and poor compositions. On the plus side, a majority of the works are skillfully rendered, display good technical skill, and also deal with interesting concepts. Swapna Biswas’s series of three paintings interestingly juxtaposes animal figures with self-portraits to accentuate the existence of human and animal instincts within a person. An inverted tiger next to a crouching figure of a woman illustrate the interrelationship of conflicting emotions in man. Using bold primary colors her paintings are well executed and have a striking effect.

Anil Kumar offers unusual imagery in his ‘Magical hat of colonial king’ and ‘Public call’. All his works have been done with pastels on paper. Reji Arackal has a humorous take on ‘operations’ – with wrestler like figures slicing at different fruit. An acrylic painting of an exaggerated figure of a woman holding an ice cream stick looks ferocious, and at the same time has a child like glee on her face. The artist likes to combine local motifs and objects in his paintings. Pierced eyebrows and earrings are meant to be pure decorations, probably to emphasize the feminine side to a wrestler like woman. Another still life with a huge jackfruit – bright green and exquisitely detailed is placed next to a couple of apples has an unusual effect. KS Sujith paints a surreal picture where animals and humans cohabit in a bright, vividly colorful and painstakingly detailed world full of foliage. Gigantic reptilian figures overlook the tiny monkey like human figures.
Benitha Perciyal’s mixed media works are fairly abstract and appear to have philosophical leanings. ”I didn’t drunk from that well’ (yes, that is how it has been spelt), defies description; it probably has something to do with water conservation, but sadly makes little sense. Lochan Upadhyay’s works are in black and white (charcoal drawings), with a sofa that has excessive detailing, while ‘Inside outside’ has drapes suggestive of physical boundaries. A graphite on paper work by Lokesh Khodke combines still life with meticulous detailing for an interesting effect.
Then, there are a couple of street scenes with flat images and people engaged in different activities while a young boy looks on from his vantage point. Most of the other works are average or worse. Interestingly, Tangerine will be actively promoting most of their artists and is also in the process of working out a buy back scheme from their clients at existing market rates. Prices range from Rs 10,000 to Rs 1.35 lakhs.

The exhibition can be viewed till Feb 7, at the Karnataka Chitrakala Parishath, Bangalore

(Published in Times of India, Bangalore)