Bikash Poddar and 'Kaleidoscope'

(By Nalini S Malaviya)

Bikash Poddar brings his recent watercolors that are pleasant and create an ethereal ambience. Romanticized landscapes in soft and appealing colors reflect the beauty of rural West Bengal. Swirls of colors blend seamlessly to heighten the effect of a dreamy sequence. There are a few figurative works also that are again done using the wash technique, and are characterized by minimal lines with an emphasis on aesthetics. Bikash Poddar, has worked as a commercial artist for many years, but then went back to painting a few years ago. He lives and works in Delhi.

The exhibition is on till March 8, between 10:00 am - 7:00 pm daily at Right Lines art Gallery, No. 270, 1st Main, Defence Colony, Indiranagar, Bangalore –38

This group show with twenty artists has some interesting works lined up. A majority of the artists are regulars at exhibitions in the city, and have their regular fare on offer. Beena Pradhan’s figurative work of a woman is eloquent, while MG Doddamani’s image is surreal and even a little chilling. Kinkar Ghosh’s woks on paper, especially ‘Savage’ are arresting. Nitin Nangare continues his series on Lambadi women and Sujata Achrekar with her ‘Brahmin’ series. Shashidhar Lohar’s ‘Tsunami’- a pen and ink drawing is full of details and attracts with its energy and restrained motion. M Senathipathi works are ornate and full of intricate detailing used as ornamentation. Somenath Maity’s has two paintings and both are equally striking, where towering structures (from his series ‘Structures’) in vivid colors make an impact. Sudipta Tewary has contributed a charcoal portrait that appears stylized.

The exhibition is on till March 15, 10:00 am to 7.00 pm at KYNKYNY, 33/200, N.S. Iyengar Street, Off Railway Parallel Road, Nehrunagar, Kumara Park, Bangalore 560 020.

(Published in Financial Tomes, Bangalore)

Art Review - Suman and Suhas Roy

(By Nalini S Malaviya)
Suhas and Suman Roy, the father and son duo present their recent collection of works – a colorful medley that is a visual treat. As they make a brief stopover in the city, we discuss their art and more.

Suman’s Christ is a figure of compassion, suffering and dignity – done on canvas and acrylic sheets the results are stunning. What is surprising is that Suman’s tryst with painting has been an intermittent affair, despite which his grip on different mediums is remarkable. Suman Roy returned to painting after a gap of several years. In the interim period cars, computers and books occupied his mind. Meanwhile, he saw the film ‘The Passion of the Christ’ which affected him so much that he interrupted his sojourn with a series of Christ figures. The violence and the bloodshed in the film moved him to translate them on canvas. The paintings on acrylic sheets (a difficult medium to work with) are particularly striking.

Comparisons between father and son are inevitable, but Suman is quick to point out that he has consciously avoided being influenced by Suhas Roy – the teacher. Suman’s early works were landscape paintings inspired by the serene surroundings at Shanthiniketan, followed by works on tribals. Then came a series on masks, a result of his extensive travels, and then finally the present works on Christ – a much in demand series. With barely contained excitement Suman announces that one of his paintings – a small one, as a matter of fact, has fetched 15 lakhs at a recently held auction, outdoing some of the senior artists. Suman Roy believes he has finally established his own identity.

On the other hand, Suhas Roy has been doing his ‘Radha’ series since 1979, which has been hugely popular. He is known for creating exquisite faces of women – romanticized portraits that are beautiful, sensuous and elegant. Conventional faces and forms acquire a rare quality in Suhas Roy’s hands, an air of fantasy or a dream-like quality permeates his works. In the present exhibition apart from the female faces in different mediums, there is a single painting of a man, a nawab holding a rose, which is rare from an artist known for his preoccupation with female subjects.

Suhas Roy’s skill with various mediums such as crayons, charcoal, and oil paints is equally legendary. He says beauty inspires him, whether it is a flower, a woman or a mountain… The other series he is working on now is The Midnight Rain, which comprises of large oils on canvas. The senior Roy believes in creating works that will last and be appreciated for generations. The art scene has changed a lot from his younger days, and he advises, “Art is changing, it is a digital era, but we should not forget our Indian roots. The soil determines how a person thinks or philosophizes and we should remember that.”

On the boom in the Indian art market, he remarks, “With so much hype surrounding the Indian art scene, the younger artists are not struggling anymore, times have changed and so have attitudes, but quality should be maintained.” This sounds like good advice, which should help in sustaining the buoyancy in the art market in the long run.

The exhibition is on till March 7 at The Hatworks Boulevard, Bangalore.

(Published in TOI, Bangalore)

Art Review - Ramesh Terdal

(By Nalini S Malaviya)

From portraits to semi-abstracts and sculptures, and now back to portraits in this particular exhibition, Ramesh Terdal has followed his instincts rather than trends. A gold medallist in graduation (BFA) he did his masters in painting from Karnataka Chitrakala Parishath. Despite pursuing painting for more than ten years, the Bangalore based artist is rather underrated despite his talent and skill. Ramesh’s works are quiet and introspective - the portraits of children are highly expressive and full of innocence. Rich textures and a rustic appeal characterize his works. Vivid browns and rusts set the backdrop to create an earthy feel since, most of his paintings are inspired by rural scenarios.

There are subtle variations in this present set of twenty-five paintings compared to his earlier figurative works – for instance some of the works are in much darker hues, and the eyes and the faces lack definition. Outlines and details are less and have been replaced by patches of dark colors; also there is an enhanced air of mystery and intensity to the portraits. Through it all the children’s faces reflect their various emotions of happiness, sorrow, playfulness and shyness. The play of light and shadow creates interesting effects. One of the works that belongs to the series “Celebration’ is a part of the collection that will be exhibited in London shortly. Despite a dark and intense palette the work is much more contemporary than the portrait series.

The exhibition is on till March 9 at Lakshana Art Gallery, Bangalore.

(Published in TOI, Bangalore)

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