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| Do you ever wonder... |
| 24 April,2011 - 08 May,2011 |
| Curated By: Khanjan Dalal |
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| Artists: |
| Vyom Mehta |
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Do you ever wonder...
about the silence in a song
of the black beneath the white
about the grass beneath your feet
of when silences became sounds
that when you want a rainbow, you got to put up with the rain
if a conscience is what hurts, when all other parts feel good
when you started looking and stopped seeing.
when you started hearing but not really listening.
that if your car could travel at the speed of light, would your headlights work?
the end of the beginning or the beginning of the end
Do you ever...Do you ever just wonder?
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| Bubbles and Scribbles |
| 22 March,2011 - 28 March,2011 |
| Curated By: Khanjan Dalal |
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| Artists: |
| Shefali Nayan |
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BUBBLES AND SCRIBBLES
She is daring, when it comes to using colour on canvas. She makes it move, flow, encircle, liberate, as she allows it to become transparent like water or heavy like stone and slowly her forms start emerging from one area of colour to the other. This is how one can describe Shefali Nayan’s paintings, as in all her work, her colours move with an energetic movement, often stopping to take shape and always connecting or reconnecting with the other form, as her strong lines define the subjects of her choice, like her painting - Pink Bliss and Mickey-ni-Minnie. Both are different; yet bond together with a certain amount of pleasure. If the doll-like, princess of the house, sits immersed in pink dreams, Minnie the cat curls up over her bowl of milk, assuming she is the Tiger of her territory.
These are just examples of Shefali’s method of retaining a playful quality of lighthearted humour in her paintings and one cannot help but remember that it takes a lifetime to paint like a child. And, this is, Shefali’s strength, as she has the capacity to look at her forms with child-like curiosity, yet express herself with a certain maturity, which can be seen in her paintings titled - When The Cow Did Not Fly Over The Moon and Hide ‘N Seek. The cow sits with her back to the viewer and even as she turns her head, to look at you, smiling, as you watch her sitting in a charming colour scheme of whites, grays, yellows, greens, browns and blue-blacks, through which her red horns emerge with a certain menace, as Shefali says, “My paintings happen with my urge to express and celebrate the simple but wondrous moments of life.”
Keeping this mood in mind, her triptych - Hide ‘N’ Seek - is a sublime multi-coloured painting composed with the horizontal and vertical movements of aquatic creatures painted with a controlled division of spaces in blues, yellows, greens, purples, oranges and pinks, which invite you to flow along with the current, in the company of a red sea-horse.
In almost the same context - The Crown of Trees and Alice in Flowerland, Shefali creates a green world, against the shadowy silhouettes of a distant city, where Alice sits, alone, in a luxuriant valley of flowers. In contrast to this illusionary paradise, Shefali can also create an element of the dark inner life of human beings, as seen in –Last Day-Last Show, where an aging actor appears to bid farewell under the falling curtains. Also, the painting titled - Black and White – A Silent Film, demands close scrutiny of the black king standing besides his white queen with red horns, as a white butterfly chooses to rest on the king’s shoulder and a family of black ants make a beeline for his queen. This entire series of paintings leads you towards Shefali’s Robots, where she creates a lyrical but mechanical world of machines with strong black lines and the energetic flow of her machine people, seem to say, “we also have feelings…”
While looking at this particular painting, along with her installation – Café Ying-Yang - you can see that Shefali is at the crossroads and about to embark on quite another creative journey of her own.
– Esther David
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| Feminine Syntax:Personal Biographies |
| 27 February,2011 - 27 March,2011 |
| Curated By: Rekha Rodwittiya |
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| Artists: |
| Karishma D'souza, Kim Kyoungae, Kim Seola, Lee Hayan, Malavika Rajnarayan, Sonatina Mendes |
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Feminine Syntax : Personal Biographies is an intimate space of reflection and consideration that desires to hold dear the personal and the fragile, within an art environment that has increasingly begun to impose the demands for grand and epic proclamations.
Like the weaving of a tapestry, the many different threads that knot and come together are what finally make for a complete picture; and as lives interweave too, these spaces of communion hold exquisite value. Feminine sensibility in art is often from those territories that engage with the politics of gender and which chart a history that is crucial to contextualizing self representations.
The six artists are acutely conscious of the collective histories that that they choose to belong to and which may be viewed as the legacies of feminist discourse. Nuanced and evocative, their works imbibe oral histories of a multicultural social milieu which become the stage of greater elaboration and interventions. Shared associations, conflicts, parallel histories and cultural investigations - all wrapped in the pursuit of a visual language, have distilled to articulate passages of contemporary existence for these six women.
Kim Kyoungae, Lee Hayan and Kim Seola are from South Korea, whilst Karishma D’souza and Sonatina Mendes are from Goa; and Malavika Rajnarayan is from Bangalore- all who now currently reside in Baroda. Coming from multiple locations, Baroda becomes a site of collective journeys converging.
Rekha Rodwittiya
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| Nature Morte - Repositioned |
| 19 December,2010 - 27 December,2010 |
| Curated By: khanjan dalal |
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| Artists: |
| Indrapramit Roy,Lavanya Mani,Rajesh Sagara,Minal Damani,Satyanand Mohan,Shefali Nayan,Khanjan Dalal |
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An idea- ‘Still life’, an essential choice of objects and a manner of arrangement in a spatial field- a genre that is an important and integral part of history of Art could be passe as practice but is not out of the system.
In Indian milieu ‘still life’ was never as popular as in history of Art of the West as the Indian narrative tradition or high art on temple structures never practiced such representations. It was introduced by colonial art and since then ‘Still life’ is seen as part of training that is to construct a united representation of objects for painting. History shows that ‘Still life’ was actually invented around in 17th century in Europe. Then, the chosen objects made it ‘woman’s work’ as most of it came popularly from kitchen. Nevertheless studies have shown that these inanimate objects demanded more attention as they carried life and significant messages of their own. The constant changes in still life have been an interesting part of Art history due to its relation to the transformation of society as well as artistic ambitions of its time. For example around 16 and 17 century Vanitas were commonly practiced in Europe to represent emptiness of life and so were the ‘Memento mori’ to signify death.
History also says that Modern Art movement could be credited to practice of ‘still life’ paintings in late 19th century to post war and contemporary art like apples of Paul Cezanne to Brillo boxes by Andy Warhol and to Luc Tuyman’s still life in the west whereas the traditional ‘still life’ practice by K H Ara, H A Gade and F N Souza laid the foundation of progressive art movement in Indian. Today Art scene is at a juncture where readymade to found to created objects in monumental presence question the special ability to render tangibility evoking sense of a touch and texture of ‘Still life’. It is the practice where artist is a commander for both ideological and formal symphony of the visual representation relating on one hand to personal/private desires and beliefs, and, on the other, to technical innovations.
Within this creative pursuit we maintain and later question the practice of ‘Still life’ by proposing a project which is divided into two parts. The first part will invite artist to create a work of Art in 2D based on her/his desired still life ensemble in her/his own private studio environment between the given period of time.
The second part is an attempt to question, relocate and reexamine the familiar territory of the process in which all artists will be invited to a location where they would be asked to contribute 2-3 objects from their previous private setting into a one large collective setting for a designated period. Thereafter they would engage into production of a work based on that collective setting to negotiate further with the present ensemble and respond in a medium of their choice.
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Stockroom 
