Bengal Metaphor

                Art inspired by a poetical imagination , rhythm and flow inspired by a dream state quality, profound beauty, of gods and goddesses ,of kings and queens , of man and woman on the street ,these are the unique features of many artists from the Bengal school . The artists relate to flowers and birds or the sweet song flowing from the flute of the lord or lover, some exuberant, some self absorbed, art beyond time and space , a sensibility of beauty that can be universally appreciated by every soul who can respond to a sunrise , of a birds twitter or soft unseen music filling a moonlit night . While these emotional qualities may be common take offs for many of these artists, it is the sense and sensibility, it the dust raised from each individualistic expression, so varying yet so binding tie these ten artists together. The personal vision of each , to follow a certain lyrical mood creates a sensation , that relates to beauty ranging from lovely to splendor ,from exquisiteness to delicate elegance . From within these froms , within these brush strokes , colours and light comes through harmony, peace and hope . Independent of subjects chosen and free of clever craftiness ,a certain pattern of enquiry develops to fullness with full sensitivity, typical of Bengal master painters. 

Basically Hyderabadi

Curator’s Note

Basically Hyderabadi

                                                                                          Chronicles of old city

The minutes, transcripts, proceedings of life in the old city  , of life known to the artist , of life which passes by ,around him  and at times gets into him . This is the most intimate experience any artist can strive to give form   .Taking notes of that flowing beard of a fakir, making a quick sketch of a reclined young man, unhurried movements of burkha clad women  , relaxed and leisurely in the comfort of their homes, in bazaars , tea stalls and on the streets, everyday life  is captured in an honest  effort .   With candid expressions and at times fleeting suspicious emotions crossing quickly on their faces only to  redress into an unquestioning trust, in their way of life . Basically Hyderabadi by nature.

These people known to  Rayees  ,  fascinate him with their fortitude  and resilience, grace in their poise and  elegance in their homely forms .  Pure and clear they manifest as semi cubistic structures , bright and alive in their attire and somber in their expression, that come with a pride and dignity ,belief in their faith and togetherness .

They show the stained glass effects of byzantine religious church paintings , induced in a classical modern style where the facial features are repeated with religious  icons or the urdu scripts, merge with the human form seamlessly ,addressing this life in a time frame .

Dr.Avani Rao Gandra  

Poetry in stone

   These ruins speak of the magnificent Indian architectural, sculptural heritage. Their physical remains in a variety of states, as preserved complete forms, as shells or relics, seem to evoke within their residues and remnants, an underlying emotion that evoke the glory of the past, express anguish of destruction or simply enthrall by their splendor. They seem to be at rest, after a lengthy journey.
Madhugopal captures in his photographs, these very mysteries, embedded in century year old temples and forts of South Indian architecture.  Enigmatic structures of caves, rocks, crumbling temples, shattered ruins are exposed in their streaming lights and perspectives, to underlying emotions , a slow stir that moves  the  unconscious, with their age old signage and symbolism . The hoary past looms large ,captured skillfully through well composed, interesting angles and directions of light.
The poetry flows, as the skills parallel the beauty of the structures, idols and sculptures. They are explored to heighten the hidden, underlying, unfathomable feelings. The flying gandharvas, the poignant Buddha,    floral patterns, unending arches, stairways create a movement and rhythm, unveil a sensual quality. Light flows on the pillared structures and arches creating resonances of inexplicable deep silences .In the changing patterns of the clouds, the expanse of the sky and sometimes the reflections in the water add exciting dimensions,   explored to enhance the mood in an abstracted quality.
The ruggedness of the Golconda fort, their exposed stone works, ruins, arches and surrounding rocks have a handsome appeal compared to the dramatic play of on the dark black stone sensuousness of the Katatiya temples. The ruin of the Kakatiya fort recreate stories of yore and valor while the intricate carving of the Halebid sculptures of men women, bird and animal create amorous poetics.
Fragile ornate Hoyasala sculptures weave stories, myths of heavenly  otherworldly creatures, here festivity is at play,  contrasting  the poignancy of the Buddha at the Badami caves  and the handsome demeanor of Hampi remains of the Vijayanagar architecture .Symbolism prevails high in the likes of the elephants  standing guard or the flowing Lingas .Man remains a solitary bystander  in the silences recreated in these photographs .

Dr.Avani Rao Gandra

The Tree Spirits

An exhibition of Stenciled paper relifs by J.Venkateshwarlu

The Sacred Breath metaphysical abstracts

from 22nd Aug 2009 to September 11 2009
A group of artists from india Curated By Dr.Avani Rao Gandra

Curator Note

In Indian philosophy , contemplation , introspection of an object, a vision or an idol has been an age old phenomenon, towards reaching the supreme self. Meditative thought and reflection has been the basis of many practices in art history.

Abstract practices of spiritual , ethereal, healing, mystical visions in many variations of application and process bind the age old concepts with new idioms connecting the self and the world . Artists aimed at touching the nucleus of life and living, sanctifying arenas of canvas or paper.

In this show we have a selection of such practices that induce meditative and metaphysical process and content ranging from philosophy,divination mandalas , sacred geometry and organic nature forms. The super natural and the iconic merge with the natural and the sensual, with their sacred breath.

Secret Garden

An exhibition of paintings by Prabir Kumar Dalai From 5th Aug 2009 to 2o Aug 2009

IN ESSENCE minimal art

Life seems to reside in the most simplest of forms. Simple forms like the seed and womb carry the universe within them. The grain of soil , sheet of rain drops , veins of a leaf , the spiral shell, the sun , moon ,earth, the most simplest of forms , hold the most vital elements of life .The geometric, organic patterns in nature seem to contain multiple meanings , allusions , illusions. Stripped to its essentials, the naked truth unarmed , without lengthy storylines , contained yet pervasive , controlled ,regulated yet liberated , Minimal art genre was the answer to these artists . They wanted to lay in bare essentials, of line, form, colour, light, texture, a larger experience. To uncover simple truths with unpretentious austerity are these drawings, paintings, sculptures, etchings, relief’s done in minimal art practice.

IN ESSENCE minimal art

On the way to...dreamstate poetics

paintings and drawings poetry by Shambu Prasad Reddy

The Buddha Speaks...

An Exhibition of paintings by Prakaash Chandwadkar.

Taking The Line For A Walk

“Taking The Line For A Walk”

To make a mark is the beginning of a journey, into realms known, unknown, seen and unseen. The line as Paul Klee once stated is what the artist takes for a walk and that’s art . On one end it traces the objective world as seen and on the other it is a trek into an inner journey of feeling or expression.

When the idea of linear expression as sign and symbol was floated by the curator, it saw an outcome of live wires; as burst of angst, tracing pleasure, introspecting the self , hybrid forms, fantasy surreal and meditative strokes .

The lines traced contours , captured gracefully the life around , turned ferocious in frenzy, animated , violence or melted in silent peace . Both figurative and abstracted they let go, seem to liberate the artist.

These lines as drawings , paintings , woodcuts , etchings ,installations capture Man –machine , feminine issues , self introspection , environmental issues , internal anxieties or seeking quietude . They saw the artist negotiating with his aesthetic and emotional concerns, against direct illustrative figuration, in bold defiance.

Taking The Line For A Walk

“Taking The Line For A Walk”

To make a mark is the beginning of a journey, into realms known, unknown, seen and unseen. The line as Paul Klee once stated is what the artist takes for a walk and that’s art . On one end it traces the objective world as seen and on the other it is a trek into an inner journey of feeling or expression.

When the idea of linear expression as sign and symbol was floated by the curator, it saw an outcome of live wires; as burst of angst, tracing pleasure, introspecting the self , hybrid forms, fantasy surreal and meditative strokes .

The lines traced contours , captured gracefully the life around , turned ferocious in frenzy, animated , violence or melted in silent peace . Both figurative and abstracted they let go, seem to liberate the artist.

These lines as drawings , paintings , woodcuts , etchings ,installations capture Man –machine , feminine issues , self introspection , environmental issues , internal anxieties or seeking quietude . They saw the artist negotiating with his aesthetic and emotional concerns, against direct illustrative figuration, in bold defiance.

Friends Forever

with artists friends
FRIENDS FOREVER
The Iocnart Gallery is taking its first steps forward