Chirantan literally means Immortal and something that has been there since time immemorial , perhaps timeless.
This show focuses on artists with those very quality in their works – a ”timelessness” !
Culture and tradition is a large part of the lives of people in the Indian Diaspora;most of us are spellbound to the beauty of the Banaras Ghats painted in myriad colors by eminent as well as younger artists.
Few of the most sought after works by our eminent master artists have often been a take, a version , a depiction of an imagery or concept of our culture. Our greatest artists Gaitonde , Tyeb Mehta , M.F Husain , S.H. Raza , Satish Gujral et al have all achieved fame painting depictions from our Indian mythology and culture.
Umpteen images of our deities, villages , urban spaces and surroundings have been depicted by artists on their canvases. The imagery of Gautam Buddha getting enlightenment under the banyan tree , or that village man who takes his goats and cows to milk . Everyday India , Everyday life , the essence of the timelessness and immortality of these images, feelings and culture is depicted in each work of the show.
Tamkanat’s art engages with an array of socio-political issues. Daughter of one of Hyderabad’s better-known artists, Fawad Tamkanat, Afza picked up the brush at a very young age. As she watched her dad paint, Afza says she would also pick up crayons and sketches and paint on the walls and on bed sheets. Her art can be perceived as bold, like her incredibly independent mind.
Anil Kumar Yadav
Anil Kumar Yadav grew up amidst villagers with modest lives & village culture. The Rangolis at the village festivals and the fine work done by the potters’ inspired him enough to take up art as a hobby from early childhood.
Later he moved to Delhi with his father who was posted there, and was taken by the rich cultural heritage and city life. His paintings started revolving around the present-day society, the religious ghats of Varanasi, Haridwar and other Heritage Places that deeply attracted him for its architecture and their deep influence of culture. He portrayed the simplicity of the architectural doors, temples, sculptures, beautiful narrow streets, and by-lanes of these Indian towns, which held an unfathomable beauty for him and to which he transported everyone to, through the medium of Art.
His aim was to paint with the finesse and perfection of realism that would perhaps be even beyond photography. Bright in its palette, Yadav’s painting of Bells and Marigold, The Cityscapes, and the Sadhus all transport you to a form of serenity that few young artists have been able to achieve. The Use of the Prussian, Cobalt, and Cerulean blue along with the Oranges are a treat to the eye.
Aradhana | Acrylic on Canvas | 60 x 48 inches | 2020 INR 2,50,000/- | USD 2999
His urge express himself without the techinal limitations saw him gravitating towards painting. Bain feels that paintings allow him the freedom to explore a range of possibilities without hampering his flow of thoughts. Colour is an important element for him and he uses color to explore the wider paraphernalia of his psychological world. Of late almost every canvas of Bain’s has a black serpent, the artists interpretation of the primordial aspect of nothingness. As the artist says “As if the dilemma of the artificial real and real have taken a broader shape to mingle with each other, this mutiny of real among the cacophony of unreal will surmount into a sweet lullaby of melancholic tune on my canvas and would signify through an un-identifiable tint.”
Studied at Government College of Art from 1972 – 77 and passed from the same institution; studied at the International Animation and Photography Institute, Japan from 1980-82. Poddar’s artworks depict not only all the experiences that he has gathered over the years but also all that has delighted him, motivated him and affected him as well. Apart from being an extremely talented painter, Poddar is equally adept in filmmaking, animation, photography, publishing, graphic designing and printmaking.
Ashok mullick’s paintings include a strong focus on the ordinary person – more specifically womankind and the contradictions it faces. The artist likes to portray the contemporary age where people have lost the human touch and have become increasingly impersonal in their behavior.
As a painter, he touches on these facets where customs are not being followed and the link between now and the past is getting hazy. He’s carved out a niche for himself with his juxtaposition of real and unreal imagery infusing his canvasses with bold, vibrant imagination and certain energy, which is extremely appealing.
The breathtaking beauty of the ghats of Banaras has always been a muse to most artists, so it is not a surprise when we see Ashif dwelling and romanticizing this ancient city with his brush and giving it a dream like look.
Ashif Hossain hails from Kolkata and his paintings predominately dwell on life. He is a fine art graduate from the Government College of Arts, Kolkata.
Indian culture, its vibrant colours and the idea of secularism inspire the artist and the same is reflected in his artworks. The metropolitan cities of India stimulate his creative thought process and a lot his paintings depict this. Contrasting the modern with the past, inspiration is picked up from the everyday life around us – the infrastructure, the people and the busy chaotic lives of the cities. His works depict his thoughts on life and its past.
Using acrylic paint, primarily black, brown and white with hints of blue and red, Ashif paints to reveal unique shades on his canvas. Brown and black is used together to give an antique look whereas white enhances the painting by giving it an open space. Blue and red adds life to the painting by making the sepia/monochrome toned works more vibrant. Acrylic paint is used to create a watercolor effect on his canvases.
Haldar, seeks to explore ideas rooted in the realistic world. He is interested in taking something physical and amalgamating it with incorporeal elements like dreams, thoughts, emotions and memory. His works depicts human forms and borrows elements from graffiti to create a textural quality. His works capture with elan the spontaneity and openness of gestures movements and expressions.
Bhaskar Chitrakar, the last of the Patua painters whose family has been producing the Patachitra art unique to the area for six generations.
Patachitra are traditional cloth scrolls that depict mythologies and folktales, and have been present in Eastern India for centuries. But the Kalighat Patachitra is distinctive in how it uses a rural style to pass commentary on the city’s socio-political landscape. While other Patua artisans operating in the area have relinquished painting in exchange for making the more profitable sculptures and idols that are used for the city’s many religious festivals, Chitrakar continues to ply his trade. “I too used to make sculptures while growing up,” said Chitrakar. “But after making statues with my father for the Akshardham temple in Gujarat, I realised that painting was my calling.”
Chitrakar has been infusing the modern into the traditional over the last decade. Talismans of the 21st century, such as mobile phones, cars, auto rickshaws and synthesisers, started making an appearance in his paintings with a playful, sometimes surreal, flourish. The subject of almost all his paintings was the Bengali babu, who has been a consistent target of the Kalighat artists for nearly a century.
The boy dancers who perform a devotional dance ritual are quickly declining in today’s cosmopolitan world. Pani entwines his empathy for the dying art with an opinion on our post-Modern era. In that respect, Pani does not try to create nostalgia for the decline in the taste for the dancers, instead he problematizes the issue by bringing in a dispassionate view of the issue.
FINE ARTS EDUCATION
1997-1999 MFA – (First class with Distinction) Faculty of Fine Arts, M.S. University, Baroda.
1991-1997 BFA – Kala Bhavan, Viswa Bharati University, Shantiniketan, West Bengal.
1987-1990 2nd world “Studio for Fine Arts”, Bhadrak, Odisha.
Marked for the refined handling of line work and palette, his painterly compositions, reflect influences of folk art and Bengal School. The renderings are poetic and the narratives mythical, folklore-inspired or religious. His curvaceous and languid figures, often accompanied by a surrounding halo, are set amidst a natural habitat. The imagery features Buddha, Krishna, other legendry icons as well as pretty damsels and lotus flowers.
Bolgum Nagesh Goud
Born in 1957, Chhotu Lal is an acclaimed artist based in Udaipur, Rajasthan. He received an MA in Drawing and Painting with a gold medal from MLSU (Udaipur). Apart from his two solo shows at the LTG Art Gallery and Nitanjali Art Gallery in New Delhi, he has been honoured with manu awards and has actively participated in many dual and group shows in India and abroad.
His works depict the Bengali countryside and his hometown Kolkata bathed in the monsoon rains. His black and white works are ever popular though of late he has been dabbling in colour. Dilip Chaudhury has been painting various scenes from everyday life of Calcutta & sometimes Banaras, in watercolour. From ancient monuments, streets & ghats, to a rickshaw puller in action, he is captured it all, beautifully. To somebody who has even a remote connection with Calcutta, he manages to bring a wave of nostalgia, as he symbolizes the character of the city of joy in his work.
Dilip Kumar Kesavan
Dilip feels his technique of painting is sufficient to convey a concept.He feels his artistic philosophy and practice need not follow every rule,
be predictable or appeal to a mass audience. “I feel the most intriguing images leave the viewer either unsure or unconcerned with the precise process of production.”
The artist practicing painting on his own nude portraits , feels it’s a way of putting himself strongly out there and saying strongly that he Loves himself and this journey he travels between his feelings to expressing it on canvas is one he gladly sets on.Works on female nudes is seen by him as very natural and the human body is a part of nature. He remains loyal to that truth and nature by blending his nudes and making them one with nature.
This art is an unreformed celebration of the female nude. Artwork invites the viewer to explore a dreamlike world full of beauty and passion. Fantasy compositions draw upon disparate modernism nude paintings to more contemporary pinup art, mixed with elements of theatricality and performance. This unorthodox aesthetic blend sensual imagery with a painterly style of manipulated colours.
This view of beauty is not overshadowed by eroticism nor is it obligated to modesty, so it’s not for the timid. Viewers who engage emotionally and intellectually, seeking inspiration rather than being told what to think.
Dilip received his BFA from Madras College of Fine Arts in 2004
Celebration Series : Acrylic on canvas | 14 x 18 inches | Price INR 35000 / 555 each
It is said that the energy is constant and it only changes its form over the time. If I am allowed to express my journey as a painter I will use this example to explain, how over the years my paintings have changed the shape and yet its inner energy has remained constant. Every true artist is filled with this insatiable and indestructible energy of creativity that makes him strive for the yet undiscovered frontiers of creation and it is the most alluring challenge for him; to which, me too is no exception. In this process I have experienced the artist’s ANGUISH to express his feelings on the canvas and then his ECSTASY when it has taken tangible form through the colors of imagination.
Elan Chezyan S
We who went cutting across the primal tunes beyond time came back to the migratory paths to find Roads, farms, houses and cities and we are yet to reach our nests. Marking direction as a sign and the essence of wisdom not taking itself as a giant life and hence different the elephant is traveling along with my return migration overcoming the perplexing new obstacles that rise in its path. Life opens itself as the moment that becomes an opening of death, as the desire to retain the whole life cycle inside itself.
Hussain’s colourful work that includes drawings and watercolours besides paintings on canvas, features day to day visual experiences of the middle class urban India. He endows his narrative with an iconography and personality through his figuration, their posturing, dress and the surrounding imagery. The drama of subtle complexities of human relationships and social environment are grounded with a sense of satire mixed with pathos. Farhad’s colours help enhance the brightness and aura of his paintings while he also partakes elements from traditions such as the formulaic textile patterns of Indian miniatures. His compositions are often set in a familiar drawing room or a social space, playing out with humour and sarcasm, the narrative psychologies of human life and encounters at various levels. This young artist who has also experimented with sculpture, has already carved a niche and an instantly recognizable individualistic style befitting his aesthetics and concerns.
To say that Fawad Tamkanat`s work is narrative is a gross understatement. Throughout his career as an artist, he has strived to develop and then perfect a visual vocabulary that he can use to communicate with his viewers. And this language, that he uses to take on peoples` minds, has nothing to do with society, religion or politics, but, quite blatantly, is all about his own personal fixations. Fixations that include those with time, and one`s place in the general scheme of things. Fawad was born in Hyderabad in 1962, to a family that already had artistic inclinations running through its veins. His father was the famous Urdu poet, Shaz Tamkanat.
He have not undergone any formal training in Art but gained experience first from his Father Late Mohd Ibrahim Khan, a Banner Painter. Subsequently, under the able tutelage of renowned Artist Late Manjit Bawa (Guruji – his Mentor in Art) he studied and learned Art for 14 years. Bawa took much care to train him to use brush and pastels on a variety of subjects, also guided him to savor the beauty and nuances of Texture. Then, as an initial step, his Guru guided him through a maze of depictable visuals scattered over the all too familiar places of Delhi.
Gourango is self-taught. He draws inspiration from the Master artist Hemen Mazumdar who has brought to fame the imagery of bathing Bengali women in his works.
Drawing inspiration from Hemen Mazumdar, Gouranga too has fashioned many a numerous woman in semi – nude forms bringing to pivotal attention the beauty of a woman .He has achieved a solid and steady reputation as a professional emerging bengal artist . His meticulous execution on canvases and paper are irresistible visuals, both in terms of its charming figurative content and its very fascinating colours. Gaurango is a master in handling the wash technique of painting. He meticulously works on the paper to create simple but deeply arresting appeal in his works.
The dark side of life as embodied by prostitutes and pimps slinking through the sleazy alleyways of crowded cities is what moves Gurcharan Singh to take up his paintbrush. Outcasts, the wretchedly poor living on the fringes of society and feeding on it and being fed on it in turn, form the basis of Singh’s works. Walking down the less savory areas of cities, Gurcharan transferred his observations onto the canvas bringing to life people who are seldom thought of by their more fortunate brethren.
Gurukinkar is an Indian contemporary and modern artist born in 1977 in Howrah, West Bengal. He lives in Pantihal, Jagatballavpur, Howrah & Kolkata. Gurukinkar inspired by none other than renowned psychologist Sigmund Freud. Conflict between human beings and society. He believes that though several millennia ago civilization took place, yet human beings possess a few remnants of prehistoric fragments within themselves, intriguing him no end. Started painting when he was 15 years and has been doing so ever since, drawing inspiration from Freudian theories on the unconscious mind, sexual desires transference, etc. He participated in many national and international exhibitions.
Iruvan can be described as the artist for the common Indian citizen. He portrays images of common people tending to their daily routines, religious figures and temples. For the former subjects, he beautifully paints a mundane scene using contrast wherein the background is light and the lines or subjects are painted with dark colours. For the latter subjects, however, the artist captures the energy and spirituality of temples and Gods.
Jagannath Paul has graduated from the Government College of Arts & Crafts, Kolkata. The varied nuances of male and female relationship are manifested into his paintings through the medium of charcoals and colours on paper and canvas. He uses colours to depict relationships in different moods and emotions. He is known for his charcoals on paper or canvas. His works bring out the drama of black and white by introducing solid blocks of paint, which are restricted to reds, yellows and orange.
As a child Jiban Biswas grew up in the midst of nature and animals. He sees the cow as a reflection of himself , with his continuous effort to understand the trends of modernity with curiosity and bewilderment. In his series Nostalgia he depicts a human’s ( here represented as a cow ) spending quality time Old world traditional things, which is fast losing its place importance & essence in today’s modern day .
Biswas beautifully , skillfully and metaphorically depicts his feelings of nostalgia through his works.
Joydip Sengupta earned a BFA from Kala Bhavan in 1998 , an MFA from the College of Art, New Delhi 2000, India and an MFA from the Duncan of Jordanstone College of Art and Design, Scotland . UK in 2001
Joydip explains his paintings by saying, “My artwork is about contemplating realities; most often a floating world that inhabits a timeless space. The complex architectural backdrops symbolize glittering superstructures the grandeur of which can be overwhelming and dehumanizing at the same time. These act like a stage onto which various unrelated characters are deliberately put together to create an impromptu association or dissociation. The blur of certainty gives rise to a new perception where the rationale breaks down and the past, present and future collide into one. The characters and props constantly shape shifting into something new. Marooned in the land mass of one’s psyche with memory and belongings, notions of the self keep changing and move on from one reality to the other much like the characters and props. In essence the perceptions of the outside and inside become one. My paintings narrate the structural, socio-cultural and visual changes that are taking place in a world driven by technology and urbanization. I am interested in the dialogue between tradition and modernity and the synthesis and conflict rising from the same. My aesthetics is rooted in the collusion of many worlds. Global identities, traditional motifs, cultural displacement, hybrid realities, indigenous symbols, fascinating and overpowering urban structures and complex human journeys all together weave the images in my paintings.”
Mitra most definitely builds his works with a preconceived image in his mind composed appropriately to bring forth the concept as well as great visual appeal.
The figures of men women & children in his works have a definite attitude as well as positioning. Mitra derives pleasure from creating an intense tension through the attitude and positioning of the subjects. The Body plays the main expressive medium. A Torso or simply the back, hands, toes, the intricacy of the veins on their bodies are modes through which Mitra tries to bring forth tension and pressure in the daily life of a human being.
Upadhyay titles most of his paintings as “Innocent”. He is preoccupied in most of his works in bringing out the strength of the Weak. Whether it is a rural boy taking out the goats for a walk or the imagery of the woman as Durga.
He symbolises them into Durga’s to show that every woman has the potential of a Durga. The rural kids depicted often in blue have an equal potential with the alphabets that they string along. All that is required is to give them an equal opportunity like the city bred youth.
His artworks highlight one of the bitter realities of our society – “The Primary Education System” in rural India in need of a big reform. Manish debates on those glamorous pictures projected in the newspaper and media are many a times away from the core reality. The rural kids possess the same potential (when it comes to contributing in nation building) as the city kids have, provided they get an equal opportunities. The usage of Goat, symbolic representation of English Alphabet as a cord, Newspaper hanging on Bicycle, the Bull and Flute adds soul to his artworks.
Originally from a small village in Mahabub nagar distict, Osman’s paintings draw inspiration heavily from village life. He has a good command over capturing images with reference to people living in villages ,continuing to reminisce. Since the past five years he has been working in great detail and with beautiful bright colors with high efforts to capture the essence of indian culture,tradition and values. Recently he has been painting various versions of a bull that is traditionally decorated during sankranthi.Watercolors by Osman are not very transparent instead he has developed a style of his own. His pallete is very fresh and drawing is realistic. The artist is touched with Indian culture and tradition and since past many years he is working on this bull series and its also symbolic image of “SANKRANTI” festival.
Mrinal Kanti Gayen
Mrinal Kanti Gayen was born in the Sundarbans delta, where he grew up until his young adulthood. Not surprisingly so, he has been deeply influenced by the tidal waters which made their serpentine like course through shrubs and bushes, stretches their gliding hands towards the uplands of the riverbeds.
The trees on the edges of the ponds leaning over the water-stretch as if attempting to embrace the reclining fellow trees.
The minnows taking refuge to make merry under the shallow water bodies embroidered with the light and shades cast by the sunrays passing through the foliage of the stooping saplings. The wind flirting with the pond water creating ripples on the water in total conjunction and harmony with the shoal of fish playing underneath.
All these impressions according to Mrinal leave a mark of ‘Being’ and Not Being’, an incessant matrimony of ‘void’ and ‘mass’ which could be visible and invisible at the same time.
Mrinal’s sculptures tries to reflect this very quality of void and mass in his sculptures with great intellect and sensibility.
Mukesh completed his under graduate training in painting (1996) from the Rajasthan School of Art, Jaipur and continued to do his post graduation in printmaking (1998) from the Faculty of Fine Arts, M.S. University of Baroda. He works at the points of intersection between painting, printmaking and large scale spatial installation, often taking his subject matter the dynamics of the human/environment relationship
Naman Mahipal was born in New Delhi in 1993. He is a graduate in Multimedia and Animation from Apeejay Stya University. He uses a variety of mediums for his art, including oils, charcoal pencils, and sculptures made out of wood and steel.
At just 27 years, his works have already been showcased in Metropolitan Museum, New York and Affordable Art fair in Singapore. Closer to home, he has exhibited at the India Art Festival, ID Design, India Habitat Centre, Modern Art Gallery, HT Imagine Fest among other venues
Neman’s creative process includes keen observation. He analyses peoples expressions and emotions, their body language, and aura, all of which fascinate him. As a result, facial themes and expressions are repeated across his works. Wood and Steel are his go-to mediums to work with for sculptures. He designs a 3D model once he develops an abstract idea. Once he is satisfied with the model, the actual process of giving his thoughts a physical embodiment starts. Religious iconography is another recurring theme.
Eagles | Wood, Black Matt & Glitter Red | 34 x 18 x 13 inches INR 97,500 | USD 1550
Identity 1.0 | MDF & Metal | 10 x 11 x 16 inches INR 59,999/- | USD 925
Namaste Voice Wave | Wood | 12 x 12 x 45 inches Price : INR 1,25,000/- | USD 1799
Debapriyo Nandan Purkayastha was born in Assam in 1986. He studied Fashion and Design and graduated from the National Institute of Fashion Technology in Delhi. Nandan was inspired by ancient Indian mythology as well as old Western cowboy classics. His work, mostly in monochrome drawings and paintings, comes in intricately detailed pen and ink imagery on paper. Durga Puja festivities and rituals, ranging from creation of the idols to their immersion, are featured with depth and dimension. Though faceless, his idols and people, with inter-related elements composed in contoured spiral patterns, bring the imagery alive. The impact of his training in fashion is evident in the drapery and hairstyle of figures and the contours of birds and beasts in his work. The artist has held several solo and group shows at Kolkata, Delhi and Mumbai.
A brilliant colorist, Nayanaa Kanodia, an economist turned painter, is considered to be the pioneer of l’Art Naïf in India, a genre until then unseen and unheard of in a contemporary context. She has since established a rare niche for herself in this very particular mode.
Having won the National Scholarship of the Government of India, she completed her graduation from Lady Shri Ram College, New Delhi with an Honours Degree in Economics.
Nayanaa is an entirely self-taught artist except for a year-long apprenticeship with Anjolie Ela Menon – one of India’s leading contemporary artists. Having had a French leave of absenteeism from formal training in art enabled Nayanaa Kanodia to bring patterns of strong individualism into her work long before it was considered a redefining approach for unique and contemporary artists of today. This also guided Nayanaa Kanodia to avoid the hierarchy of the artworld labels, such as a ‘high’ and ‘lowbrow’, and to present the dynamics of social reality in the concrete frames of virtuality.
Underscored by her self-taught education, Nayanaa Kanodia’s journey is a story of talent, passion and vision. She has portrayed India’s transforming culture as no artist has done before on such a huge time frame. This will be a visual record for generations to come.
In 1998 she was chosen from among artists of all The Commonwealth Countries by The Commonwealth Institute to have a solo show to inaugurate their newly renovated Complex in London.
Based on the contribution she had made to L’Art Naïf she was invited by the world renowned Victoria and Albert Museum in London in 2001 to demonstrate her painting techniques and exhibit her paintings in the gallery.
What is more, she is the first Indian whose paintings are part of Paintings in Hospitals collection. Her works are permanently displayed at Musée d’Art Naïf Max Fourny – Halle Saint Pierre in Montmartre in Paris.
Mumbai based artist who has studied at the Raheja College. The beauty of his work is in the fluidity & movement of his subjects. Even in his figurative works where no movement is depicted, one takes one look at the subject & can feel the energy within the painting. Adhering more to a different approach and tenor, the paintings of Om Swami propounds on certain human traits like sensuality and love using bold and thick strokes. The ‘She’ highlighted in his paintings, to an extent is a comprehensive revision of certain traditional aspects, the archaic women, which has been in the human imagination for a long period of time. His name is associated with paintings with rich imagery,well conceived theme and deligently executed vibrant colors.Though figurative,but contemporary,he has cultivated a style of his own using minimal details.
Oinam Dilip was born in 1982 in Bishenpur, Dileep received his Bachelor’s Degree in Fine Arts from Delhi College of Art. In the early years, Oinam experimented with abstract and realist forms of art, which were inspired by the metro cities of South Asia. The artist found his muse in North East India,which inspired him to capture the beauty and simplicity on canvas. His portraits depict the integral understanding of social ethos and conditions of Manipur. His subjects cover most of his canvas forming a gorgeous, multilayered splash of colours, lines and most importantly human feelings. His paintings have a balance of realism and abstract, with his subjects inclining more towards realism, set in a beautiful vibrant backdrop.
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