Peace and Pieces
20092009

  • 24 x 66/in
  • Figurative, Fibreglass, wood, iron and sand
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categories
Sculpture, Installation

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biography

India, New Delhi, - 1990 Born 1970 in Karnataka, GR Iranna obtained B.F.A. from the college of Visual Arts in Gulbarga in 1992 and M.F.A. from Delhi College of Art in 1994.Iranna is recipient of National Academy award in 1997, the M.F.Hussain and Ram Kumar award, Lalit Kala Academy Award and the AIFACS award. He was a recipient of Charles Wallace Scholarship; between 1999 and 2000 and studied at Wimbledon School of Art, London. Iranna has had solo exhibitions at The Guild art gallery, Mumbai, Espace art gallery, Delhi, British Council gallery. Has also exhibited in Hongkong, London, Cairo and Amsterdam among others. Iranna’s works are in many important collections including NGMA, Delhi and Chester & Davida Herwitz collection. His paintings consist of nude figures: abstract in language they are of a philosophical reflection, revolving around the interest in exploring the interactions of the inner of man world with the existential issues of today.

G R Iranna is an artist whose work transcends the boundaries of time and space. Born in 1970, it’s been barely ten years since he started painting professionally, and already his work is mature and profound. Many of Iranna's paintings depict pain as an abstract force that is translated visually in bruised textures and razor sharp cutting edges. His painting has always been far removed from an overriding, postmodern logic. Instead, Iranna uses the idealistic, representative and modernist language of Indian contemporary art. His most recent works are all visions of resistance. In just a glance, one can tell a sense of massive dynamic energy that pervades the surfaces. An energy that is fueled by torment and the struggle against it. Upon further inspection, one sees that these conflicts being played out on the surface are present also in those between one colour and another, between figure and hue, and between the crudeness and the expertise employed. These works, set on canvas as well as tarpaulin, are symbolic of an important change in Iranna's work. Maybe symbolic even of an attempt to break free from an establishment, or a style that is beginning to become claustrophobic. The large, fundamental figure that used to appear in Iranna's early paintings emerges only twice in this later series, and though the artist continues to employ repeated motifs in his work, they seem now to be less figurative, leaning more towards form.

These pieces seem to have an almost romantic undertone: the result of Iranna's attempt to break away from his own mould and reform his work. They cater to contemporary expectations, and reflect his need to pander many contradictory demands. Those of society as well as those of the artist himself.

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