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