Booth Nos.: 17 & 18

The third edition of India Art Festival at the Nehru Centre, Worli, Mumbai.

19th December 2013 − Inauguration & VIP Preview: 3:00 pm to 8:00 pm

20th & 21st December 2013 − Public hours: 11:00 am to 7:30 pm (Last Entry 7:15pm)

22nd December 2013 − Public hours: 11:00 am to 6:30 pm (Last Entry 6:15 pm)

Participating Artists: Akash Choyal  |  Brinda Miller  |  Ingrid Pitzer  |  Jaideep Mehrotra  |  Kalpana Shah  |  Kanta Kishore Moharana  |  Mahendra Bhagat  |  Paresh Maity  |  Ratan Krishna Saha  |  Ravi Mandlik  |  Sanjay Kumar  |  Seema Kohli  |  Senaka Senanayake  |  Vijay Shinde

Exhibits in this show

Recent works by RAVI MANDLIK

4 – 14 December 2013  |  Daily 11am – 7pm, Sundays Open


In the present exhibition Ravi Mandlik meditates to return to contemplate his art practice. It is not on a variety of things he ponders, but on a few recurrent concerns through which can be sensed underlying verities. The moment of aesthetic distance in Ravi Mandlik’s work has a double edge. An alumnus of Sir. J.J. School of Art Ravi Mandlik with several international shows is respected as one of the most significant artists working in Mumbai today, producing work that uniquely straddle modes of abstraction. Beginning with a remembered experience, Mandlik works on any series for long periods, often several years, characteristically producing richly coloured, sweeping compositions, which continue into the painted space itself. Mandlik’s penchant in working in different scales is evident particularly in his more recent series in mostly done in three formats-medium(40 x 30 inches) and large(48x 94 inches) mainly. The shapes and substances assuming a mental quality, conferring upon the mind that brought them forth a thrilling if somewhat a power of detachment and an acomplished syntax of language able without modification of its own nature to transmit an indefinite variety of mystical messages. There are 26 works in this show titled “Autumnal Cadences in Blue and Red”. The current enthusiasm for cool, distanced conceptual strategies threatens at times to transform abstract painting into a purely cerebral understanding. Mandlik reminds us of the pleasures to be found in visual seduction. He has an ability to state the most enduring truths in a style that is measured and patiently gathers a subliminal energy.

There is a turning, a barely perceptible displacement that joins all the articulations and penetrates all the points welded together by the imitated discourse. A trembling spreads out which then makes the space crack. There is the large, monochrome ochre shore as the background. There is the contour as an autonomous power. We can see the function of these secondary yet indispensable elements. The field is limited and contained, in this a large contour still belongs to the field, precisely because it is itself only the outer limit of other, more concise contours or rather the broken tones. It becomes doubtless the purest pictorial situation and is fitting that his language, often evokes and on several occasions actually realize the potentials of a meditative enclosure and are replete with images of a static eternity that substitutes the external one translating feeling and emotions into a visual language. He stresses the deliberateness of his process and enumerated the ingredients that constitute his painting and measures them carefully. He considers his jagged forms to be actual objects that he positions on a stained field. His paintings are not arrangements of that flat geometric form that divide the picture plane, nor are they vast atmospheric backdrops but sublime texts where he uses light and keeps the source as a revelation of some kind of the spiritual. For all the runnels of colour that maintain a certain austerity, these paintings celebrate their artifice, and sweeping brushstrokes seem genuinely felt, warm and intimate. He starts with a bright palette and at the last moment he builds up tones using layers of thin colours: earlier they would have threatened the tone of an essential eclectic exercise. The artist is inundated by the degree to which his own powers can enter, alter, withhold, made precious the clear view beyond, which they are in danger of shutting off forever. Those stretches of paint, they sustain and extend; their calm shimmer and overwhelms; slowly as they start to gather in scene after scene, they begin to speak of relinquishment, of escape lacking any exuberant painterly iridescence. The application of paint also reveals distinct purposes, where paint body produces a kind of textual differentiation enumerating various forms and corresponding traditions. The abstraction contests the space of the painting by standing up against one another, by raising the intensity or value of their colour or simply by aggrandizement. For such a drama the space might be quite shallow. The linear forms of the earlier paintings quickly disappear to be replaced by profound structures which appear to grow from within on the canvas and are not defined by contours. As such visual text emerges; they come up against the edge of the picture. The axiom of struggle within the space sets the edge as the limit, though the need for contained identity for the forms do not allow them to share a boundary with the canvas or to mimic it too precisely; silhouette which encompasses formal structures, for another, his studies become unpretentious. For him a particular colour might demand a specific proportion but more often it seems that mutual adjustment of colour, shape and definition require that a form grow and shrink- which may reinforce or contradict the optical expansiveness of a colour field of combination. It seems, therefore, that the initial motif was essentially a choice of colour- shape protagonists, as it were actors in a play, but once placed in the field, they might be radically transformed by the tussle- the flat paint body seem less important than tone, creating an abyss set against deeper abyss, marking the points where their forms reflect, intersect or overlap, the frame within the frame diverges instead of converge, now another illuminating areas evolve, – a rough parallelism is achieved. Eventually the drive of the forms towards consistency leads to their development into vast fields or bands which are characteristics of his mature work. As Mandlik recites to us the entire dramatic scale of his subliminal passions, no wonder we are received with grand emotivity, transcendental emotivity, so precious that makes our soul tremble before the pulsing drama of abstraction.

What is terrifyingly ecstatic though disparate they are: is the spectre of non-saviour and profound exuberant visual reading as in lush painted spaces- no repose or appropriation, no comfortable possession is posited, only affliction and supplication meeting at an imaginary point. His abstractions are pulsating markers woven from whiplash lines, coloured fields and an occasional sweep that commands the space, they filter, and they intuit our minds. The paintings speak here to contemporary abstraction’s continuing fascination with isolation and depersonalization of the autographic gesture. Mandlik recreates for the eye, in two dimensions, something of the pleasurable hindrances of a winding progress through pictorial space. It becomes apparent experiencing his work that Mandlik enjoys solitude for his painting which awakens and takes its shape in silence.

Broadly, the negotiated space of national/international, in a subliminal manner brought two kinds of subject positions in the Indian art world. First the confrontational and the heroic- outsider to the mainstream and its institutions who upheld a subversive revolutionary identity, and the second that verge on the solipsistic guise, whose reclusive symptoms manifest often through a disquieting expressionism by using the premises of abstractionist formalism. A great artist never recapitulated the history of painting in his own work in an eclectic manner. Nor does this history correspond directly to the painter’s periods, though the periods may have an indirect relation to it. It does not even correspond to the separate aspects of a given sculpture or painting. Rather, it would be like the space covered by the unity of a single, simple gesture. The historical recapitulation consists of stopping points and passages, which are extracted from or reconstitute an open sentence- and then the form collapses. The form is no longer an essence but becomes an accident; humankind is an accident. This accident opens up a space between two planes; the contour ceases to be the common limit of the form and the ground on a single plane. The diagram is never an optical effect, but an unbridled manual power, a spectacle that forces the eye to confront this manual power- it is a frenetic zone in which the hand is no longer guided by the eye and is forced upon sight like another will, which appears as chance, accident or the involuntary. Mandlik is like a philosopher on the aesthetics of sensation, colour and form. The colour pulsates with the texture he gifts them with a certain fluency allowing these pulsating strokes to follow the natural folds, he uses them as multiple washed fields of motion contradicting nature and this distinct use of lines create a formal contradiction on the canvas that gives life to the figures, a contradiction that is further heightened by a gesture, a look or an attitude is an inclusive act, unassuming as it is realistic, and it is bound to give a direction as it is realistic, and it is bound to give a direction as many of his works do, to a more sympathetic understanding.

Culled from our sources of imagery, an uninhibited freedom of subterfuge and play, the energy, dynamism, absorption and spontaneity reveal strands of social semiotic of what a culture talks about and the means and style of expression it employs to do so. A tormenting thought that as of a certain point, history is no longer real and art practice, the accelerations of modernity has given ‘us’ the velocity enabling us to hurtle free of longer real and art practice the referential sphere of the real and the imaginary. Since the purpose of imagery is to remind us, by approximation, of those meanings for which the image stands, and since, apart from this, imagery is unnecessary for thought, we must be more familiar with the image than with which it clarifies. The concept of time is rather of a continuous unfolding rather than a series of static incidents. Mandlik’s imagery leads to a sort of sensation of meaning and significance cramped and obscured than of the unfolding of meaning through its narrative structure largely because, for him, the imagery is not much that can be ordered within any framework based on the historical progression or retreat of time confined by the sense that movement happens within the province of proportional space or of measurable historical time. Instead the flow of mnemonic images creates a different sense of movement and a different hierarchy between objects. This is also linked with a deeper realization that the handling of a body of paint, its articulation and sense of gesture as paint, are largely capable of an immediate registration of the movement in time of an intuitive-subjective experience with the culmination of a romantic apogee. This is perhaps the stillness of the forms of his earliest work, now rendered to suggest a separation between his subjects in an active world. A languor of an infinite yearning, celibate but still singing. We are left cerebrally purer and warmer for the experience.It is through such discourse that the other become anonymous and structures eternal texts of desire. The viewer strays into them as if in half remembrance, unanchored, Instead of strands, one holds on to the textures in a vast middle of broken vectors; the substance of a wakeful dream materializing image and reality, dream and component made by teasing paint and pigment beguiling the viewer into a seemingly no-win game of illusion and recognition of many beginnings and no end.

He was trained in century old Sir. J.J. School of Art and had legends like Prof.Palshikar, and others as his teachers but spiritually he remains closer to Gaitonde. He reminds us that the progression of a painter’s work is toward clarity, toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. He gives as examples of these obstacles: memory, history and geometry. These works suggest a passage of time, an extremely precocious painter in his early years, both in time, his own evolution and the body he produces. The dynamism in the present series is a subtle indication of changed circumstances. His involvement in light illusory space, dreamy moods create the illusion of looking through a kind of which is illuminated from beyond by diffused sunlight celebrates weightlessness of a great tradition. His works articulated in terms of a picture-script, he voices gravity in somber paintings suffused with an inner glow submerges every other colour- bands of prussian blue and dusty brown fall in broken ridges of white and dark grey, at the bottom of the avalanche, a pinpoint blast of red on white reminds that in the far distance, things dissolve into a dusky haze tinted with crimson red, yellow, orange and grey. There is a degree of impressionistic naturalism about this especially in the depiction of light, but what is more strongly projected is an otherwordly numinous quality. There’s a literalism about the ‘wash down stream’ imagery that makes the makes the paintings evocative combined with an imaginal vision, formal complexity and luxurious painterly sensuality that makes them work so well. It is fitting that Mandlik’s language is implicit in its evolutionary path often evokes and on several occasions actually realize the potentials of a meditative enclosure and are replete with images of a static eternity that substitutes the external one translating feeling and emotions into a visual language- the implacable absolute of otherness. His sensuous clarity turns out on inspection to be both lyric vision and a complex enigma. From as yet ambiguous longing, sustenances that will be available in time as ripeness, necessities of the heart. Ultimately it is sensibility that gives these works their distinction, the quality of his attention, the unlikely subtlety and boldness of his sensuality, the harmony he creates of tensions, inarticulatenesses, ambiguities, volume, light, elusive moments. Elements of the repertoire are continually backgrounded or foregrounded with a resultant strategic overmagnification, trivialization, or even the annihilation of the allusion It is as though he sets out to escape the confines of everyday reality, the colours of the intermediate zone do not suggest the etherealized ambience of ecstatic release; they are imbued with an almost vigorous candour.

– Nanak Ganguly
(Independent curator and critic based in Kolkata)

Exhibits in this show

Recent works by BRINDA MILLER

Preview: Wednesday, 13 Nov 2013, Exhibition continues till 1 Dec 2013  |  Daily 11am – 7pm, Sundays Open

My latest works are of acrylics and mixed media on canvas + paper. They include luminous forms set in tangential planes that shift and slide over the surface. They move like asteroids interfaced by basic forms that intersect with one another, appearing and disappearing as multiple washes give them visual momentum. Forms are worked in translucent layers that involve many techniques that succeed in merging and separating color, volume, line and texture of architectonic rhythm. These tilting planes collectively build a matrix that is meant to capture strong dimensions in compositions to achieve depth growing in its ability to exploit the Modernist tension between the material reality of painting and the imaginary space beyond the picture frame. Embedded within are the abstract idiom references to local histories, while adapting them to accommodate a personal obsession for relentless experimentation– A bright palette, splashes of paint and a unique technique from being spontaneous and free flowing, yet structured .The rich earth chromatic tones touched by an inner glow dominate my canvases. They are colored with vibrancy and are set against jewel tones- rust, oranges and indigo surrounded by swathes of inky black and smoldering reds.

My work is landscape based and inspired mostly by my travels all over the world. My works are an accidental experimentation of an impulsive process. The use of material and stencils, to imprint their textures, was a discovery that deserved to be used or rather reused, and developed so that the artworks could have a life of their own. It so happened that after smearing papers with paint and imprinting their textures on canvas, I took them up again to cut, paste, or mix and match them. Subconsciously, I create multiple dimensions with paint. I use techniques such as pasting strips of paper, or slivers of dried paint, to create these artworks. I manipulate colors with contrasting splashes of color with areas that are enhanced with gold and silver leaf. My strategies include diverse materials that are strung together and tightly held, in earthy, coherent compositions. Exploring materials within a frame allows me to bend the rules within my own metaphysical confines. There is connectivity between each of the works. … And yet they differ from each other.

My latest works can be interpreted as a new phase, wherein my preoccupations are based on principles of the abstract. Form loses its outline in my landscapes. Nature asserts its presence through vestigial lines – straight, angular, an arc or an ellipse, and through other geometrical devices.

It is apt, that my paintings with their new approach are showcased under the title ‘Adrenaline Rush’.
 Clearly, my paintings with their conscious denial of form, their preoccupations with color, particularly in their strong textural as well as aesthetic values, are seen as more than abstract landscapes.

With this new body of work, it is somewhat self-evident that I wish to wrestle with the basic tool-bar of painterly options. I let the rigid make peace with the fluid, actively overlaying drips and strips in a bid to find order within a space of a self-inflicted chaos. It is a bit like letting loose a spell of chromatic hooliganism and then administering the same with another fierce round of chromatic governance; as the playful artist of this painterly unrest, I eventually restore the law and order on the canvas.

My art imitates my life. My busy multitasking life is reflected in the way I paint. There is a certain excitement, as well as a touch of anxiousness that drives me to work. I believe that my involvement in diverse art related activities have contributed to my growth as an artist. I paint several paintings at a time.

I believe I have crossed another hurdle in my quest through an uncharted discovery of myself.

– Brinda Miller (November 2013)

Exhibits in this show


Preview: Friday 18 Oct 2013, Exhibition continues till 10, Nov 2013  |  Daily 11am – 7pm, Sundays Open

Senaka Senanayake, critics say, is a painter of our vanishing environment. Collectors say he paints rainforests. Both miss the point – for Senaka is, first and foremost, a painter of colours. Overlook for a moment that he happens to paint birds and trees, fish, foliage and gardens. Mostly, he blends colours, seeing each with an enhanced intensity that captures our attention. Is a paradise flycatcher really so vibrant? Is the macaw’s crimson really as red? The fluorescent flutter of butterflies, the lazy swimming of fish – these colours, his colours, are they truly reflections of nature?

To our jaded palettes, Senaka’s hues appear exaggerated. A yellow so bright, it hurts our eyes. Lush greens, fluorescent pinks, the moonlight inking lilies the blue of the Aegean; pomegranate reds and flamboyant, fertile greens; the deepening hues of mauve, indigo and purple. These are Senaka’s tools of trade. Guided as much by an artist’s instinct as by his own experience, he arranges colours to balance his canvases so that the eye falls evenly across his paintings, never drawn to a particular corner. For, in Senaka-land, nature is pervasive, evocative and profuse.

The outcome of his efforts is a powerful, enchanting, perhaps even hypnotic, world of birds, beasts and beings. In this magical world of tropical rainforests, there is a sense of harmony – nature’s own, among her creatures, and Senaka’s, as an artist who can startle but also soothe with his choice of tones. You are drawn into his web of hues till, helplessly, you watch, seduced into submission and compliance. Escape is impossible; the colours inhabit your dreams; they surround you.

He may be no bleeding heart but make no mistake, Senaka is nature’s evangelist. He wears his concerns lightly, but on his sleeve. His native Sri Lanka is his muse, but the world he recreates as a painter is rapidly shrinking to the confines, alas, of his canvas. Like a conductor, he plucks out a memory – a pandemonium of parrots he saw once, a corner of his own garden where the heliconias bloom in abundance, attracting a bevy of winged insects, while butterflies drift past on the currents of a light breeze. In that teeming, lively jungle, there’s twittering and squawks, the croaking of frogs and the chirping of cicadas, the rustle of beasts unseen, the whirr of dragonflies. Do the eyes hear? Surrender yourself to Senaka’s planet and you’ll have your answer.

It becomes almost necessary, then, to ask: What space does Senaka inhabit in the twenty-first century, this painter of nature and the natural world? When art is about distortion and disassembling, his fantastical realm seems far removed from his peers, a love song, almost, to a vanishing world. Where is his place? What does he say to us?

Senaka’s painterly language is about decency and tolerance, humanity and existence, beauty and balance. He teaches us about the values we are rapidly losing as we turn our backs on the earth that we inhabit, to create artificial islands of selfish prosperity, ignoring what we see around us – and, need I daresay, at our own peril. The planet lies plundered as the rapacious among us loot her. Tomorrow is an endangered concept. The future is upon us; it lies in today. Senaka could have chosen to paint that violence. Instead, he chooses to remind us of the beauty that is an important ingredient of our lives. It is what we must preserve, for ourselves and for our future generations.

This endangered, enchanted, iridescent land, is it, one is tempted to ask, real? Senaka’s painted truths are no myth, they emerge from what he sees around him (and which we in our blind haste and greed do not). In drawing our attention to it, he reminds us of what is rapidly diminishing, what we are losing as we chase mirages, the illusion of fantasy, when reality is more mesmerising. This documentation of a shrinking world is his tribute to a natural wilderness as well as a record of its existence. Anguish might have been an expected response; in choosing the beautiful over its degradation, Senaka has shown an alternate way, flagging a reaction that is aesthetic as well as overwhelming.

It is this universal language that finds him his appeal around the globe. His vocabulary requires no translation. Arising, as though from the mists of time past, is his forest of enchanted reality. The depths of that jungle are dappled with light. Greens provide a background in a variety that would be impossible to imagine. Leaves small and large, giant begonias, delicate creepers, translucent petals, they beguile one into a timeless tapestry. It is impossible to simply observe Senaka’s paintings as paeans to loss, yet that’s what they are. Nostalgia? Perhaps. But more urgently – an archive of lost treasures that can yet be saved.

Senaka beguiles, of course. His representation of nature is a gentle but incandescent exploration of colour. In real life, nature can and often is violent. Creatures kill, seasons wreak havoc, plants die, species become endangered. Why is Senaka’s fecund imagination then so peaceful? Perhaps the answers lie within each of us. As our day-to-day existence rises to a stressed pitch, as we observe and are even drawn into small circles of brutality and anger, Senaka permits us the grace of an escapist’s fantasy to find an exit for our pent-up emotions. The more we struggle to survive the rat race of modern civilisations, the more our past draws us, the more relief we seek in an imagined reality and its soothing presence.

Mostly, though, maybe even without realising it, it is Senaka’s colours we are drawn to – colours that are therapeutic and apply a healing balm to our lacerated souls. We respond instinctively, submerging ourselves into them, letting them wash into our inner being as he uplifts us, driving out negative energies, offering us brimming possibilities and positive spirits. It is a world you and I miss; it is a world you and I long to wake up to. Thanks to Senaka, we can.

– Kishore Singh (Art Writer)


Exhibits in this show

Two Artists, One Energy – RINI DHUMAL & SEEMA KOHLI

Curated by Kalpana Shah and Sapna Kar

5th – 15th October, 2013 (Daily 11am – 7pm, Sundays Open)

Oh Jagdamba, mother of the universe, behold the world! Nurture it. Keep it safe. You are Durga, divine goddess and slayer of demons. You are Bhadrakali and Annapoorna, she who feeds the world; Bhairavi and Chandika too, who must be feared, Lalita and Mookambika; and Maa Bhavani, she who nourishes her brood with justice and solace.

Women divine

In an ancient land, with a martial tradition manifested in a feudal society trapped in testosterone-wrapped masculine potency, we are blessed with a festival that celebrates what it means to be female. Not merely the feminine – though that is part of her being too – but that which is womanly, including, yes, her ability to wage and win wars while also applying the soothing salve of healing and comfort. Marking the beginning of India’s festive season are nine days and nine nights that commemorate the existence and wholeness or completeness of what it means to be a woman. When she is mother and daughter, wife and lover, sister and sakhi, friend and companion.

The season that begins with the Navratras thus celebrates the diversity of everything we associate with womankind. It invokes all that is divine and temporal, sacred and profane, bridging the gap between Durga and Kali with her bloodthirsty tongue, not as a goddess to be feared but to be fêted. Kali is a slayer of demons, she wears a garland of skulls around her neck and her temper on her sleeve, her dance of vengeance is terrible to behold – but she is both woman and goddess, a symbol not merely of retribution but also of hope.

Artists have paid homage to those whom we label goddesses since time immemorial, their image a tapestry of divine attributes which, alone, are enough to invoke her likeness. But who is the woman behind our reflection of that whom we consider a goddess? Is she mother, or daughter – or both? How does she dress? What does she think? Does she dream? Does she love?

For millennia, we have hardly cared to look beyond her attributes or her sacred persona. Iconicisation is a tripping stone before which we find ourselves ensnared in a ritual of obeisance, unmindful of the existence of the woman behind the divine mask. In our narrow quest, we have not cared to explore the woman behind the myth and evangelisation of goddesshood. It has taken two women artists to share the secret world of the goddess within each woman, and the woman within the goddess, in a celebration of everything that is beautiful and feminine.

Seema Kohli’s invocation of the godly, of nature and a natural world, has been part of her oeuvre since she began painting three decades ago. She traverses and knits together different universes, uniting them on the same platform, the realm of the gods and the playground of humans, of heaven and earth, a mosaic of sky and land and sea, that which we can see and that which we cannot. Her winged beings – humans? gods? – float through a horizon with a looming moon that lights up an oddly familiar world evocative of the everyday and mundane but made exotic because of its artistic representation. A swan spreads its gilded wings in a swoon of pleasure. In one corner, a figure meditates. Mendicant? Goddess? The neighbour from next door? Perhaps there is no difference, after all; perhaps they were always the same.

The city spreads below, a fragile cocoon of hopes and beliefs. Here, then, are dreams and deceit, the daily currency of life on earth. Loftily, mankind hopes to rise above it, like the lotus that emerges from a pool of filth to strive for the incandescence of the celestial. Some will make the journey; many will fail. It is the way of this world.

The mantras of life’s cycle manifest themselves across Seema’s canvases, her hope for balance in nature and in human existence, her invocation a prayer for the salvation of mankind. But what of Rini Dhumal?

Rini’s goddesses scorch you with their open gaze. Here, there is no pretension, no escape. She looks out and sees – what? A wrecked society, a broken world? Her transfixed stare is direct yet not challenging – it might even be benevolent if it were not all-seeing. She does not question because she does not need to. Knowledge resides in her head, compassion in her breast. A lance adorns her hands; a demon’s head sits totemically at her feet. She is the avenging angel, but flowers embellish her clothes, a bouquet breathes on a table beside her. Her fetid tongue is a lasso of loss for the vanquished, proof that she walks the earth, but the red that smears her forehead is not blood but the mark of victory and celebration. She is both sacrosanct and, in that terrifying moment, sacrilegious. Everywoman? Perhaps she is every being.

Rini’s and Seema’s works might appear like simple invocations to goddesses before whom millions of women and men chant prayers, but they are more layered than merely simple narratives of a soporific religion. Both seek to dwell on the role of the goddess in a society where terrible wrongs are wreaked against women. Do we need goddesses when the universe they nursed in their wombs is poisoned with mankind’s ugly desires? Polluted beings hold the world to ransom. Extinction threatens us.

Neither artist proclaims to provide any answers, yet the answers are to be found on their canvases. You are your own goddess, they seem to say, you hold your self and your future in your own hands, and though those hands may not be divine, they have the strength to care and bless and protect. If Rini brooks no resistance, it is because hers is a path to empowerment. Femininity is strength, she appears to suggest, but when justice demands avengement, Kali is but a breath and prayer away.

If you wonder whether Shiva is in hiding, or evoke the absence of Ram and Krishna, Seema serves up an alternate universe where the union of Stree and Shakti are paramount, but make no mistake, she stands too for the independent, individual woman. Dreamer though she might be, she is also her own protector and vigilante. Her painted universe might demand an offering of energies, but she creates a distinctive voice for her goddess-woman.

Could you imagine a raas without Radha? Or without Krishna? Any wonder she turns to the gods and male energy in her search for the perfect partnership, one in which they neither overpower nor are subservient to the female principle. Krishna entrances; the Buddha enlightens; Lakshmi is benevolent; Saraswati shows the way to wisdom. In a world of strife and violence, of sectarian politics and mob rampages, the gods, and the goddesses of the nine nights, are a celebration of their infinite variety, of their effervescence and playfulness, their dharma and duty. They provide a brief interlude from the rigours and stress of life. In reinvigorating our senses from the apathy of tedium and reiterating our faith, they serve a purpose higher even than that of prayer.

May you be bestowed the joys of Sarvamangala, the blessedness of Bhavani, the beauty of Durga, the womb of Jagdamba…

– Kishore Singh (Art Writer)


Exhibits in this show

A Unique Group Show of small format works conceptualized by Kalpana Shah

Preview: Monday 16 Sept 2013, Exhibition continues till 29, Sept 2013  |  Daily 11am – 7pm, Sundays Open

The list of participating artists:
Akbar Padamsee • Ali Akbar Mehta • Anjolie Ela Menon • Arunanshu Chowdhury • Arzan Khambhatta
Badri Narayan • Baiju Parthan • Brinda Miller • Chinthala Jagadish • Chandra Bhattacharjee • Charan Sharma
Debashish Dutta • Debraj Goswami • Devdatta Padekar • Gourishankar Soni • Gurcharan Singh • Heeral Trivedi
Indrajit Prasad • Ingrid Pitzer • Jagdish Chander • Jaideep Mehrotra • Jayashree Patankar • Jayasri Burman
Jenny Bhatt • Jogen Chowdhury • K G Subramanyan • K S Radhakrishnan • Kalpana Shah • Kavita Jaiswal • Krishen Khanna • Nanda Das • Nayanaa Kanodia • Nimisha Sharma • Nisreen Moochhala • Paresh Maity • Prashant Salvi • Rameshwar Broota • Ravi Mandlik • Rini Dhumal • Sachin Deo • Sahil Shah • Sakti Burman • Samir Mondal • Sanjay Kumar • Seema Kohli • Shipra Bhattacharya • Shuvaprasanna • Smita Mandlik • Somenath Maity • Sudhir Patwardhan • Suhas Bahulkar • Sukhada Das • Sunil Padwal • V Ramesh • Venkatesh Pate • Vijay Shinde • Vinod Sharma • Yashwant Deshmukh


Exhibits in this show

  • Beyond the Canvas Slider-1
  • Beyond the Canvas Slider-1

A Group Show jointly curated by Kalpana Shah and Sapna Kar

Preview: Thursday 22 Aug. 2013, Exhibition continues till 10, Sept. 2013  |  Daily 11am – 7pm, Sundays Open

Participating artists:

Ali Akbar Mehta • Arun Kumar HG • Arunanshu Chowdhury • Arzan Khambatta • Baiju Parthan • C  Jagadish • Debanjan Roy • Devangana Kumar • George K • Gogi Saroj Pal • Himmat Shah • Hindol Bhrambhatt • Jaideep Mehrotra • Jayasri Burman • Jyotirmoy Dey • K S Radhakrishnan • Kalpana Shah • Kanta Kishore Moharana • Mahendra Bhagat • Meera Devidayal • Nisreen Moochhala Paresh Maity • Rameshwar Broota • Rini Dhumal • Raghu Rai • Satish Gujral • Seema Kohli • Sunil Padwal • Suraj Kumar Kashi • Smriti Dixit • Tapas Sarkar • Valay Shende • Venkat Bothsa • Yashwant Deshmukh

While ‘painting on canvas’ remains an integral part of most art collections in India, the market is very steadily opening up to newer mediums and styles of art presentation. The gen next buyer is globally traveled and is more open to experimentation. New media art, which spans installations (which involve varied materials including metals, wood, glass, steel, fibreglass concrete, stone and the like), photography, video and digital art is slowly carving out a niche of its own. In a bid to encourage engagement with these newer genres in Indian art – The Tao Art Gallery presents ‘BEYOND THE CANVAS’. In this show these works have not been showcased as an ‘add on’ to a painting collection but has been given its own space with an entire show dedicated to it. This show will be jointly curated by Kalpana Shah and Sapna Kar and will be held from 22nd August to 10th September, 2013. The show features a mix of senior and upcoming artists. The artist list includes Paresh Maity, Jayasri Burman, Satish Gujral, Seema Kohli, Rini Dhumal to Valay Shende, Tapas Sarkar, Ali Akbar Mehta, Raghu Rai, Rameshwar Broota, Arzan Khambata and others. One of the highlights of this show is the diverse artists and mediums we have managed to showcase. We have over 25 artists coming together for this show and have works that use mediums ranging from bronze, wood, fibreglass, papier-mâché, fabric, concrete, metal and so on. While a large focus of the show is on sculptures, we have also showcased photography and video works. The themes range from traditional to contemporary – thus creating a large spectrum of options for all aesthetic sensibilities. We welcome you to enjoy this collection that creates an interactive dialogue with the viewer!


Exhibits in this show

Recent works by Tina Chandroji

Preview: Wednesday 24 July 2013, Exhibition continues till 10, August 2013  |  Daily 11am – 7pm, Sundays Open

Art can neither be defined nor distinguished by minute or great. What makes art, and especially Indian art, unique, is the presence of multiple altering perspectives. There is no inhibition to the scope and scale of an artist’s imagination. Ironically in today’s India, contemporary artists are holding on to their roots and culture, and by doing so they are emphasising upon perspectives that have always been present but have never been paid attention to. The search for normalcy, for comfort, for stability and the preservation of the ordinary is increasing in this rapidly changing India.

Tina Chandroji’s works are a perfect example of a focus on the mundane in order to get a clearer idea of the complex. Through her ‘Bombay Landscape’ she chooses to preserve and present the Bombay that is seen from her perspective. A city that is made of its hustle bustle, of the ordinary people doing ordinary things, of the markets and products that serve the inhabitants, without which the very livelihood of this city would dwindle. Despite their being no actual presence of people in her paintings, the attention to detail given in the décor and interiors of the store, provide a clear idea of the lives and beliefs of the majority classes of people in Bombay. The inevitable central position of a god in each of her paintings be it Hanuman, Shiva, Saraswati, Jesus, or the Muslim aayat, is a tribute to the city’s multi-cultural and secular nature, a city belonging to not one but all its different residents. Such a mind-set is characteristic to a place like India, where the faith of the people is mirrored in the reverence shown towards god, whose existence is felt in all the facets of their life. In the workplace especially, the day begins and ends with god and there is a common feeling of trust and dependency amongst the people of all religions towards god. This devotion has been passed on through the generations and it is the legacy of our ancestors, who are also respected by Indian customs and families.

Tina’s technique again highlights the intricacies of the Indian culture as she uses various beautiful colours and performs an elaborate process of layering upon her canvas. A trial to portray reality can be seen as she tries to do justice to the smallest detail on every fruit, sweetmeat, spice and jar.

With India modernising and increasingly imbibing western trends, a fear is felt of losing the old culture and traditions. Without an awareness of the importance of all these small components in the larger picture of India, they will soon be lost beyond recovery. It seems that only through art can a balance be found, and the identity of the people conserved. Tina brings this fine balance and reminds the viewer of an India that is of its people, from its people and for its people.

Sanjana Shah (July, 2013 Mumbai)


Exhibits in this show


Preview: Monday, April 1, 2013, 6:30 pm onwards.
Exhibitions continues till Sunday, April 14 2013  |  Daily 11am – 7pm (Sundays Open)

Life around us – Indian Metropolises are very crowded cities. There is a drama all around us. There are millions of people and there is shortage of space. Many live in small boxlike apartments. Hence, I paint in the wooden boxes. I like to spin the stories in my own way, with lines colours and the space divisions. My work evolves from a focal point to stories. Through my visual expression I narrate these stories and leave it up to the onlooker to build their own imaginations.

Nisreen Moochhala

Exhibits in this show
  • Shubham
  • Power to the wearer -II
  • Prince Charm (2/13)
  • Summer Party
  • Arogya 3
  • Kinnari & Kinnari Mantras - 7
  • These Things - That Thing - 2
  • Untitled
  • Pink City
  • Arpan (Offering) - I
  • Growing Deafness
  • Sign
  • Tahaan (Thirst) 4
  • Untited - 281
  • Flying Bow
  • Wicked Guitar Solo
  • Wild Life I
  • But if I wander away
  • Structure
  • Untitled
  • Untitled
  • Untitled
  • Shivshakti
  • Kite & Spoon
  • Red Face | Acrylic On Canvas | Size: 48" x 48" | Art no.: 10222 | Year: 2007 | Price on request
  • Context # 1
  • Dancing Poppies
  • Memorie
  • Gallery Collection March Slider-1
  • Gallery Collection March Slider-2
  • Gallery Collection March Slider-3
  • Gallery Collection March Slider-4
  • Gallery Collection March Slider-5

Recent works by Somenath Maity

Preview: Tuesday 18, June 2013 Exhibition continues till 2, July 2013  |  Daily 11am – 7pm, Sundays Open

“In a big city, I feel the vibration of an abstraction, and the colors Red, Blue, Brown, Black and Olive Green comes alive in a meaningful way.”

Somenath Maity an artist of urban environments and cultures. Called avant-garde and unconventional for his landscapes, this artist’s favourite occupation is to find the inner beauty that exists in every big city and that most people don’t see or bother to look for, and then express it in his abstract oils on canvas. Maity builds up his paintings, all aptly titled “structure”, one brush stroke at a time, almost as an architect would work on a blueprint for a building. 
Maity’s colors and textures are strong, bringing to the forefront the life of the urban sprawls that he paints, and investing them with a force that works beyond the life of their inhabitants, keeping them ticking no matter who comes or goes lives or dies.

According to Somenath “Structures is his expression of cityscapes in semi-abstract form. Mainly it comprises of play between colour and spaces.”

Exhibits in this show