We would like to hear from you. Read more. Dodiya has brought together a range of portraits and objects which relate to his upbringing and artistic development. They are arranged in glass cabinets that resemble museum showcases. But they also recall personal displays of souvenirs and sentimental items that are common in Indian homes. The cabinets also act as shrines, celebrating the lives of these inspirational figures. The objects range from the sacred to the everyday. Copies of artworks by other artists as well as those made by Dodiya sit next to photographs and miniature figurines, including incarnations of the Hindu god Vishnu.
The cracked surface reminded Dodiya of the damaged landscape of his native state of Gujarat in India, where a major earthquake had just taken place. Main menu additional Become a Member Shop. Not on display. That same year, he felt in his bones the absolute conviction that he wanted to be an artist. Regardless of this, he embraced the life of the studio, committing himself to the edge of severe visual impairment, a condition eventually and permanently remedied by surgery.
A number of paintings that date to this early phase of his career attest to this potentially destabilizing yet dynamically productive tension in his consciousness. Like many of his contemporaries, Dodiya enacted a radical departure from the modernist dogmas of stylistic singularity and medium-specificity; he replaced these with a dazzling and extravagant multiplicity of styles and a repertoire of media among which he ranges with the zest and adroitness of an orchestral imagination.
In February , a brazenly ascendant Hindu Right wing would orchestrate a genocide against the Muslim minority in the state of Gujarat, plunging Gujaratis of liberal persuasion, such as Dodiya, into profound dejection. Their trajectory presents the evolution of Indian art over the decades through their paintings, sculpture, prints and installations.
Indian artist preferring a more eclectic and populist approach to creativity have embraced different art forms. They have created their own unique visual language that endorses the emergence of Indian art in the global contemporary art scene. Inspired by their roots, they have given a contemporary perspective to their visual vocabulary. Ganesh Haloi, 84, an eminent artist of the post-independence modern India, creates works that evoke a magical and surreal visual experience. Although he began with figurative art and portraits, he moved on to the art of the unknown and the unseen by using dots, lines and incredible colours, Haloi creates fields, houses, waterfronts, hills and other facets of nature in an intangible manner.
He portrays the delicacy of traditional Indian paintings with a modern bend, minimal in appearance. In his paintings gouache on paper , dots and dashes become trees, water and green fields. He brings to his painting an inner silence and a deep understanding of the world. Born in in Jamalpur in Mymensingh now in Bangladesh , he was uprooted from his place of birth in the wake of Partition in He was deputed to work at Ajanta from to Then he joined Art College Kolkata as a lecturer in and taught there for 29 years.
In his textured abstract untitled landscape in cobalt blue, the artist shows a narrow white path meandering towards the banks of the river, while a boat languidly waits in the horizon, resonating memories of his place of birth. By using another shade of blue, he demarcates the sky. Haloi has a great sense of colour: his blues and greens do not collide, they complement each other. Through his visual narrative, he reveals that his voyage into self-discovery and experiment are intense.
They reveal an intensity of colour, emotion and line that strike the eye and the imagination. For him, artworks are more important about space, childhood and memory. It brings to the forefront events and historical turning points that have left a deep impression on the world by engaging artists from all over the world.
What emerges is a series of reflective works on paper and scrolls on canvas that show narratives on loss, migration and exile. Through the lyrical and feminine forms of her paintings, she displays an indigenous modernism.
Her storylines create an attractive synergy with ancient and modern history. KG Subramanyan and Mohammed Sheikh who she later married , her lecturers, greatly inspired her. Sheikh trained in Western-style oil painting and moved on to being a self-taught miniature painter and was influenced by pre-modern Rajput and Mughal court paintings, especially traditional tempera paintings like Pichwai and Thangka paintings.
She has often used the shamiana, traditional South Asian tented pavilions where people assemble for ceremonies, theatre, memorial events, and political gatherings. This will be his first solo exhibition in Hong Kong. The artist will be in Hong Kong for the exhibition opening in November For press enquiry including press images or schedule an interview, please contact Bo Kim at bo 10chancerylangallery. Founded in the gallery presents emerging and historically important movements in art across Asia-Pacific, supporting the development of the careers of the most exciting artists in the region including Dinh Q.
The gallery is committed to documenting the development of the highest quality art in the region through survey exhibitions, talks, forums and publishing. There is a strong curatorial focus. Represented artists have important museum shows. Dinh Q. Venue 10 Chancery Lane Gallery Date
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