"'A sketch... records something that happens between the artist and the object. Now closer to the artist, now closer to the object, but still hanging in the tension in between. Or the memory or recall of that tension. A composite of line, scratches, smears, swabs and dots that recreates an object, it learns its rhythm in the process. And becomes an object by itself. The artist sometimes keeps it to the essentials; at other times he dresses it up and makes it play a role. Set sail a narrative. And take one to new shores of experience. This uncovers new images. So this ceaseless doodling; the unravelling of what is, then its reknitting into novel composites.' "K.G. Subramanyan is widely recognized as one of India's major modern artists, an influential teacher, an astute writer on art, and an authority on the folk, tribal and craft traditions of India. This volume of his 'sketches, scribbles, drawings' spans the work of the last 30 years, with the bulk of the material coming from the period between 1980 and the present. The selection has been put together by the artist himself, with the aim of compiling a definitive collection. "This volume includes his early sketches from 1968, the black-and-white drawings for his reverse paintings from 1980, his China, Japan, London and Oxford sketches, drawings of nature, and figure studies. It provides a rich variety of mediums and styles, from works in crayon and water-colour to pen and ink scribbles, brush drawings, notes, doodles and working drawings. "The volume opens with a thoughtful introduction by K.G. Subramanyan, reflecting on the importance and purpose of such sketches and drawings for an artist, and looking back on his experiences over a long and eminent career. There is also a substantial biographical sketch prepared by art historian and close associate R. Siva Kumar, who has closely observed K.G. Subramanyan's ouevre over the years." (jacket)
Collections on paintings of K. G. Subramanyan, a contemporary Indian painter known for his new innovations in painting with that of earlier Indian folk art tradition.
Baiju Parthan is one of the most celebrated Indian contemporary artists. And he is all set to take the nostalgia of Mumbai to London and New York with his upcoming show titled Mill Junction. This show is about Mumbai as a city that exists in retrospect solely as memory or recollection. It is also how these memories get erased or modified through technology and social change. A total of seven works will be shown at the AICON gallery in New York (March 5th onwards) and later the exhibition will move to London with additional works. Baiju’s solo show after a span of two years was scheduled earlier. But it was recession that postponed it. He explains, “The delay was mostly because I took a while to complete the works. Also, the recession did influence the shifting of dates. I mean, there was not much pressure to adhere to the dates from the gallery side mostly due to the recession.” Ask him what is the USP of the show and he replies with a smile, “I would say, a few good paintings done in the old fashioned way - solely by the artist.” He continues, “This show is a development or the logical next step in what I have been doing - which is the exploration of the ‘image’ within the information space. These are paintings done from photographic references and then the painting is intentionally defaced with over painted ASCII code graffiti. ( Digital photographs/ albums we view on the computer screens are actually made up of ASCII code which is parsed/ translated into the image by the computer). The photo-works try to present the city environment as it could be experienced in First Person Shooter games (FPS computer games).” Lastly, the shy artist makes some remarks about the expectations from the show. He says, “Hopefully, the exhibition will be appreciated for its conceptual and formal strength. It will be accessible to those who are open enough to look beyond auction prices and resale values. On the other hand, to be absolutely frank, I have no expectations. One does what one believes in and hopes one keeps doing it in future.” - Riddhi Doshi
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Bench: 102 x 16 /In
Art: [art work wale dimensions]