Cohesion within Chaos

Originating in 17th century France, the Salon-style hang quickly became a way of bringing art to the masses and breaking down the cultural walls of the older elites. Today, it has become a trend that transcends the worlds of art and interiors, and is especially popular as a means of displaying even the quirkiest of collections. Gallery or Salon-style hanging offers an opportunity to curate the wall differently, allowing one to showcase their creativity with a dramatic flare. It is interesting to observe how much curatorial consistency the juxtaposition of artworks in every medium can bring to a space!

In our show, Cohesion Within Chaos, we try to explore and highlight this beautiful juxtaposition that not only signifies the all-encompassing nature of art, but also welcomes all imperfections, myriad expressions and asymmetrical choices – creating a truly contemporary melting pot.  Through this we open the doors to a different world within the gallery space, a world where the past and present, old and new, traditional and modern, come together chaotically to create a combined work of art that can never be ‘too little’ in scale or scope.

(10 - 31 December 2018)


A Summer Night’s Dream by Ranbir Kaleka

My first love has been oil painting for which I trained in Chandigarh Art College and then at the Royal College in London. My fascination for contemporary tools for making art took me to video art installations, digital collaging, and painting.

I take any object, shape, tree, animal, human or bird, and work on them the way I would work with an actual brush and paint. For instance, shaping the beak or tail of a bird, giving it multiple colours and highlighting the tip of its beak, shaping the wings etc. In short, whatever the artwork demands or whatever my imagination tells me, I can achieve. This fluidity has been made possible after years of experience.

The first step is to create the image in my mind’s eye. Then, I source the images, often photographing them. This is an ongoing process, as the artwork develops and evolves. Technology allows me to achieve whatever shape and effect I want. The final work consists of hundreds of layers; they have numbered over two thousand in some works. The multiple layers are collapsed into one and printed in archival inks on a canvas, which is specially produced and imported for this purpose from Germany and the U.S. The Eizo monitor that I use allows me to use 16.77 million colours and shades, it is calibrated for true-to-life colours, and the luminance values are adjusted for precise shadow/ highlight detail, and then transferred faithfully onto canvas.

Finally, I decide to highlight or pushback certain areas using oil paint. Some parts may need just the tiniest speck of oil paint to make it come alive. Other areas, such as foliage, may require more brushwork. As light bounces off differently from the oil paint than from the rest of the canvas, it adds vibrancy to the image. This gives it a slightly 3-D appearance. I very much like to retain the astounding detail that digital technology allows.

(19 October 2018 - 10 November 2018)


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Vijay Shinde - A Solo Show

Vijay Shinde’s works are a dichotomy. The chaos of his abstract strokes is pitted against a calmer more meditative undertone. This layered interpretation is characteristic to Shinde’s approach to his art. In his words, “I enjoy communicating with the canvas without any predefined notions or ideas. The quest for eternal truth has always been the singular force behind my works. I look to discover the ultimate, the divine force that drives us. It is invisible yet omnipresent in our lives”. 

The fascination with these larger spiritual themes of heaven and earth, life and death, and the fundamental question of existence dominates the works chosen for this show. Just as he had preferred to let his works be untitled so that the viewer could have the freedom of perception, we leave this show untitled and as a dedication to his life-long attempts to to keep discovering.

(6 – 25 September 2018)


Maximizing the Minimal

Minimalism has largely been understood as the reduction of excess clutter in order to embrace a simpler way to be. But ‘excess’ is a largely dependent variable that tends to differ for each individual. The focus should be less on the clutter and more on the points of value. Minimalism therefore is not about minimalizing the irrelevant as much as it is about maximizing the important. This process itself ends up removing the ‘clutter’.

Similarly in Art, the beauty of minimalism is in the establishment of that one important concept which acts as the focal point. That concept need not be conveyed through complex mediums and noisy metaphors just for the sake of aesthetics. In being minimal one is allowed to be free of the burden of overt expressionism and is able to stay true to their essential self. This leads to the creation of a work of art that makes no sound but speaks volumes to the viewer through its simplicity and subtlety. It is in this kind of art that we may have the chance of finding the meditative reverence that all Minimalists seek.

(22 June 2018 – 22 July 2018)


The Last Dance of the Leaves by Sunder Ramu

Sunder Ramu has been a professional in advertising and a fashion photographer for over 25 years. He showcased his recent works The Last Dance of the Leaves at the Tao Art Gallery during the weekend of 18th May. The preview at Tao was in collaboration with a reading by Kaveri Lalchand, an installation by Lekha Washington, and a performance by singer Tejas.

Sunder’s journey started over 14 years ago when he went backpacking through 12 countries in Europe during fall. He hopes to spread the message of living a simplified life and living in the now with an eye on the Earth’s need of the hour. At the core of this exhibition lies the simple belief that we must live like a leaf and to remember that if the leaves go extinct, so will we. 

(18 – 20 May 2018)


What a Body Remembers by Seema Kohli

 “What the Body Knows” is a compilation of recent works by Seema Kohli that embody a symbiotic relationship between the Self and the cosmos. Over several decades of artistic practice, Seema has developed a unique language; her visual vocabulary is associated with altering hierarchies within the corporeal, cognitive and subconscious states, communicating both imaginary and abstract impressions. The grids that exist between the sacred and secular, reality and fantasy, performance and documentation, objectivity and subjectivity, action and passivity are negotiated, stories are told and memories are resurrected.

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No corners - 18th Anniversary Show

No Corners is an abstract thought of no limits. A journey that is undertaken with absolute freedom and with the power of our imagination being our sole companion. Why restrain this boundless fluidity of motion with any corners when it can instead be smoothly flowing? A smooth constant creation of art merging into the wall and the mind of the viewer simultaneously.

Corners are comfortable. It charts out familiar territory, it represents geometric shapes that we all know and love – squares, rectangles and triangles. But what if there were no corners, no meeting points or limitations, just a continuous boundary that encompasses all?

It is in art that we have the ability to experiment, to break boundaries, to think literally ‘out of the box’ and defy all traditions, conventions and rules. It is in art that we can truly find freedom.

This was the thought 18 years ago, and this is the thought even today.

- Sanjana Shah

(26 February 2018 – 25 March 2018)


Wings That Raise Me Higher by Heeral Trivedi

They say, if you can visualize so it shall be. Only if you can dare to dream will you travel that road to the destination you desire to reach. But what does it mean to really have wings? What is freedom? Is it breaking the bondage of the will?

Freedom from a compulsive and conditioned routine or thought which does not allow us to dream further. Believing that your freedom is your capacity to acquire or possess a tangible object or fulfil material desires is but an the illusion of freedom. Let us distinguish between what it means for us to be free from something and to be free to do or be something.

These invisible wings that we all wear should allow us to think deeper, acknowledge and question the choices we make or those we are presented with. To be free is to know what we can truly think beyond the confines of the world we are made to believe in. Be elsewhere not because it has been designed to suit us but because we are free to design that life with our thoughts…

A limitless mind, hands that create magic and a heart that can lead you on the right path. Is there any more that I can rise?

- Heeral Trivedi

(31 January 2018 – 20 February 2018)


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Vanishing Point by Brinda Miller

In a linear perspective drawing – ‘Vanishing Point’ or point of convergence, is the spot on the horizon line to which receding parallel lines diminish. With this new body of work, it is self-evident that the artist in me plays around with a basic tool-bar of painterly options, interlaced with an underlying architectural theme.

Clearly, my paintings with their conscious denial of strict form, and their preoccupation with colour, can now be perceived as restless cityscapes.

These recent works can be interpreted as a relatively new phase in my art, wherein my preoccupations are now based on principles of architectural abstraction – through vestigial lines, angles, arcs, ellipses, and via other geometric devices. The forms continue to exercise a structural agency – primarily that of a metaphorical scaffolding that supports the many layered hues, and their countering tonalities.

There is a certain happy restlessness that causes me to work on my canvasses. In confrontation with all that I behold, I aim to strike a balance between leading a busy life in the city that I love, and my quest for self- fulfilment from the various activities that I partake in. My multi-tasking is reflected in the way that I paint – in multiple and complex layers.

Needless to say, my art imitates my life.

 - Brinda Miller

(04 – 23 January 2018)