India Art Fair 2022 comes to an end today after an eventful and deeply successful journey by IAF Director Jaya Asokan, who has led some of the best galleries and added a sprinkling of intriguing talks, book launches and a host of avant-garde and modern. works to suit many palates.
Canvas figurative works
Anju Dodiya Chemould Gallery
Among the figurative works, the two artists whose works stood out for their charisma of color and outline were Blue Shawl and Bubble by Anju Dodiya at the Chemould Gallery. Watercolour, charcoal and dry pastel on paper are his trio of mediums which create a strange alchemy of expressionist fervor. Anju creates a bust in Bubble, almost as if the study were an amalgamation of historical sources as varied as Indian miniatures, medieval French tapestries and newspaper photographs. His paintings on paper strike by the contrast they create between the dramatic intensity of the subjects and the subtlety of their realization.
Thota Vaikuntham Living Art
The second work that caught the eye was Thota Vaikuntham’s singular canvas at Art Alive. This trio of black beauties was a sturdy, resonant ensemble almost as part of the frieze of a dance when looking at their hands. Vaikuntham as an artist was first discovered by Sunaina Anand many moons ago, this work and all others celebrate Dravidian bronze skin color and create charismatic tableaux of women and men in degrees of dialogue sometimes flanked by a parrot and sometimes singular. Vaikuntham’s use of color and penchant for outline become evocative echoes of feminine fervor. Balance and subtle feminine traits combine to create this trio whose bindis stand out like scallops on the forehead.
Drawings Ghulam Mohammed Sheikh Vadehras
A set of large drawings, in pen and ink was sought and the set of 14 from Ghulam Mohammed Sheikh to Vadehras was a stellar study in mood and melancholy and a myriad of moments of loneliness during the pandemic. Sheikh is a master of contour and wisp cadences. His Refugees is the penultimate statement in anguish and struggle, but each of these works has a gentle, docile meander about it with jerky strokes that swim and float and create a pond of expressionist idioms in the tone and the content.
Prodosh Das Gupta Akar Prakar
Among the many small and large and medium sculptures in the exhibition, a superb Surya Mukhi from Prodosh Das to the carefully displayed Akar Prakar had to be paid homage to. Surya Mukhi is a work created in Henry Moore’s lingua franca but translated into an indigenous monumental finish of a human in the reclining face-up posture. All of Prodosh’s works consist of curved concavities, or convexities often translated from the human metaphor itself with soft textured rust. Each work is an open, straight invitation of nearly identical conical or ovoid or box-shaped sections, slanting here and there along the pathways of thought.
Sudip Roy Aakriti Art Gallery
After looking at realistic forms and metaphors and fantasy, I hunted down a modernist mooring yesterday that had a Zen flavor to it. I found it at the Aakriti Gallery booth of wonderful collector/gallerist/award-winning patron and connoisseur Vikram Bachawat.
Sudip Roy’s practice as a contemporary artist includes his series of abstraction as well as steel sculptures that have a flow of zen curves; he explores human evocations through the light and organic forms that define his sculptural works, as well as the importance of the individual in change. The artist sees the works in the modernist steel mooring series as a metaphor for the dichotomy of human nature.
The smooth satin steel organic exterior surfaces that represent its physical forms contrast directly with the delicate and polished symbolist structure that reflects the internal personal world of our thoughts. This pair of sculptures on wooden bases spoke of the rhythms of life.
Ankon Mitra Positive Art
Ankon Mitra’s Surya Yantra, a bent and illuminated orb surrounded by quiet beauty as viewers gazed upon its facets of that moment of lucidity the artist himself feels when he walks the forest of intuitive mind in its most intimate corners. ‘Surya Yantra’ – a bent sun, unveiled a sudden awareness of that almost alchemical poetry that still exists in our world, but just beyond that immediate layer that our eyes can see. The folds of paper create magic and caprice, transporting us to a realm that plays with the dynamics of light. Mitra folds and folds lightly, just as much as he folds paper.
In the IAF painting, Mitra evokes the mystery of expression by representing what is both possible and impossible. The creation of these magnificent works reflects this creation in fact, comes from a realm of enchantment, and it is through this moment of interbreeding that the spectator perceives all the more the mystery, which brings together the materials as motifs of daydreaming. reflexive.
Mitra, whose works have been widely acclaimed, awarded and patronized at the Arte Laguna Prize, Venice, the Shanghai Paper Art Biennial and the CODA Museum Paper Biennial, Apeldoorn in 2021, despite the trials, tribulations and the uncertainties of the pandemic, says – “Imagine your thoughts are a web of trees, your momentary thoughts are tiny saplings. Your lifelong dreams and strongest aspirations are gargantuan ficus-like trees , with aerial roots, thick branches and dense foliage.Your mind and its intricate workings are, in truth, a forest.
Bindis Still Life by Bharti Kher
Bindis the secular and feminine fashion accessory. Bharti Kher’s work was nestled in the interior wall of Nature Morte and it had a fascinating resonance. Kher uses the bindi as a central motif in her work, transforming the surfaces of sculptures and paintings to connect disparate ideas. Kher uses the ready-made bindi as the central motif of his practice. this tiny decoration is used as a means of transforming objects and surfaces. his use of the bindi brings to his art a range of meanings and connotations across historical and contemporary periods.
The medium wall panel has a sensual abstract surface in which swirls of dots and shapes in contrasting colors are seen. It’s fascinating to see how she continues to explore her interest in kitsch and popular consumer culture. The bindi transcends its mass-produced small size and becomes a powerful stylistic and symbolic device, creating visual richness and allowing for a multiplicity of meanings.
Waswo and R Vijay
Catch the little white man who likes to flick the weather and the tide amid verdant beauty. At Galerie Espace, the quartet of alluring works by Waswo X. Waswo and R Vijay is beyond captivating in terms of composition and storytelling. The miniature little man in a white suit with a hat is of absolute charisma and character. This miniature Waswo man is the conceptualizer of this captivating series, and it is the miniaturist, R. Vijay, who translates his dreams and desires into meaningful pastorals.
Waswo’s four works are divided into a paired series. The first earth-toned set is called Another Awkward Greeting and Nature Looks Back. Both works were treated with gold leaf by Shankar Kumawat. Waswo reveals his passion for vernacular Indian art and enjoys inviting viewers to peer into and unfold the complex terrain that a traditional Indian painter like Vijay had to navigate while entering an alien and contemporary mindset. In the first set of works that resemble an earth song, we glimpse the rhythms of nature at the confluence of two worlds of R. Vijay and Waswo.
In the second set of blue-tinted beauties called Untitled from the Blue series, we take a closer look to find the fishing net and the world within a world. Within the atmosphere of these magical miniatures, the imagery reveals the white man Waswo as a participant and observer of a mixture of harmony and incongruity and the alchemy of genres.