The Enchanting World of Yusuf's Art | 20th Oct - 12th Nov 2024 at Juneja Art Gallery, Jaipur

The Enchanting World of Yusuf's Art

20th Oct - 12th Nov  2024 at Juneja Art Gallery, Jaipur

147th Show by Artchill

Yusuf's creations are an intricate dance of sensory and emotional depth, seamlessly blending perceptions and realities with a metaphysical openness that invites endless exploration. Each piece is a unique voyage, traversing the landscapes of memories and sensuous experiences, all while maintaining a remarkable 'lightness of being'. This lightness belies the substantial 'load' of life that his works carry.

The serene and buoyant atmosphere, rendered through subtle gray tones and vibrant colors, invites viewers into a tranquil yet dynamic world. Yusuf's lines flow effortlessly like veins through rock, yet they can twist, break, and splinter, imbuing his works with a poignant and captivating quality. These lines often rise and fall in gentle undulations, coalescing into amorphous forms teeming with life, inviting contemplation on the essence of existence.

The curves, crevices, and cavernous depths of Yusuf's lines invite a deep reflection on the nature of being. Even the broken lines and bold patches of color engage in a profound dialogue, creating a narrative that is both sublime and compelling. His works possess a mellifluous quality, drawing viewers into a magnetic sphere rich with intent and substance. 

Renowned painter and art thinker J. Swaminathan once observed of Yusuf's lines:

"These drawings are self-contained entities of their own. They reveal a world of meaning to us not contained in our lexicon. Yet, our senses apprehend them. We are able to sense them without being able to pigeonhole them. Herein lies the magic of the drawings of Yusuf."

This magic extends to his paintings as well, which could make them an essential part of any artistic discourse.

The Ethereal Elegance of Yusuf’s Sculptures

'Kalpvraksh'

In Yusuf's oeuvre, his uniquely crafted sculptures too stand out. These pieces, suggestive of the relationship between man and machine, eloquently address the modern human predicament—how to live with machines. Almost in a state of flight, the sculptures possess a certain grace, and their presence is enchanting. They remind us of how we are bound to live with machines, providing comfort yet also causing discomfort. At times, we wish to free ourselves from their clutches, yet we remain tethered. One might also recall the superb film by Charlie Chaplin, Modern Times, which explores a similar  dilemma. But let’s return to where it all began for Yusuf.

One day, Yusuf saw a photograph in a newspaper of a man carrying a sewing machine on his shoulder, waddling through rising floodwaters, trying to save the machine. In the photograph, the man's head and the machine’s head appeared almost fused together.

'Yakshini-2'

Yusuf was moved by this portrayal—a man and his machine united in a single moment. Coming from a family of master tailors, he was naturally drawn to the scene, having been familiar with sewing machines since childhood. Later, he learnt that the photograph was taken by photographer Steve McCurry as part of his monsoon series from India and abroad. The photograph fired Yusuf's imagination, and the result was a series of sculptures done with various materials. The series continues with ever-changing, appealing imagery, consisting of faces both ordinary and divine, with many components from nature.

One of the figures, with a predominant blue shade, exudes a distinct charm. The ornate, bead-studded headpiece, earrings and wings convey a certain regal and divine essence. Interestingly, the machine here does not have a dreary and dull presence. Rather, the relationship shown is symbiotic, almost idyllic, evoking a sense of abundance, power and a certain shimmering sacred splendor. The face has a rather calm and introspective expression, unfolding its wings in a sort of spiritual ascent, with the radiance of a deity but with the framework of a device.

'Devi' 

The textural feel of the sculptures is powerfully executed. As with his paintings, the painstakingly intricate details of the sculptures are crafted with love and care, offering a seminal visual delight. The subtlety with which the man’s desire to see beauty in machines is conveyed is astonishing.

Whether we choose a flight from the machine or a flight with it, we find ourselves on the brink of transformation. In whatever way we look at these amazingly done “bodies,” we tend to appreciate them for their elegance, charm, and integrity which leave us with a sense of awe and admiration.

Prayag Shukla

Poet & Art Critic, New Delhi

_____________________________________________________________________

My Lines

When a point moves, a line is drawn. In my art the line plays a very important role. When I picturise the group of lines as a basic element, a strange happening occurs. Many lines emanate from this indivisible point, which then give birth to innumerable unrecorded lines. So, when I draw one single line I am actually creating two of them – positive and negative. The white lines between two drawn black lines is not purely space that has been left out. It is actually a deliberate effort. They also form to my line drawings, the same way as the black lines do. The two combine to produce a sensuousness which breathes life into my lines and gives them dynamism and mobility.

'The Served Man'

For me the line is a living unit, full of limitless possibilities I believe that when an artist creates a shape using the line, then it is the line that gives it a definite shape, then ending all other possibilities. That is why in my line drawings you do not see shape of any natural thing – my group of lines is full of possibilities capable of being taken anywhere. My creations are not created through extraneous lines. Infact they are a group of innumerable lines which can be increased or drawn in any direction. And so my line drawings have their origins from the lines, their space and form is always basic where the innermost values remain the same and where the possibilities are endless.

Yusuf

Inscrutable Layers 25th Jan - 7th Feb 2020 | Gallery Artchill Amber Fort, Jaipur

Contemporary readers, viewers and interlocutors are manifestly more willing than their counterparts thirty years ago to appreciate works that resist tightly defined analytical categories. Films with ambiguous characters, books with unsettled protagonists and plays with unstable trajectory have over the last decades attracted greater popular acceptance. Indeed, there has been a correspondence between greater understanding of the inescapability of ethical ambivalence and popular accommodation of grey as a tolerable idea. It would not be an overstatement anymore to claim that these days grey, or analogous conceptual horizons such as ambivalence or un-equivocation is no longer considered a negative attribute.

Artchill is delighted to showcase & unravel the abysmal depths of these Inscrutable Layers of latest works by these well known Indian artists- Shahid Parwez, Vijender Sharma, Ashish Shringi &  Asit Kumar Patnaik.

SHAHID  PARVEZ  -  Shahid has a unique style all of his own which has very little influence from others and makes his work very recognizably his. In much the same way that life is given to us in multiple layers, in his new works Shahid gives us paintings with increasingly complex and interlinked levels. His works present us with a series of simple overt images. However underlying that first level is a series of much more complex, intricate and interesting covert images and levels in multiple colored registrations creating surfaces of incredible richness and extravagance.

ASHISH SHRINGI -  Ashish's body of works in the last two decades has remained inspired by the Tantrik symbolism and traditional art forms of Rajasthan, thus the essence of his art always bears the fragrance of nativity. In his paintings he has widely used Tantrik Yantras and symbols contextualizing them with his personal experiences of human relationships. The freshness of his colors and textures creates vivid hues. His compositions are highly complex, multidimensional and inter-weaved with multiple perspectives. The feeling of serenity, love, romance, satisfaction, compassion and passion are the soul of his works. The originality of his ideas and style holds our mind to reflect on meaning of life. His works are celebration of human thoughts and emotions. To conclude one may say that the identity and purity of his works will always showcase the ethos of this land.

ASIT KUMAR PATNAIK - An equivocation that is particularly alluring about Asit Patnaik’s men and women is the tension between the wide variety in their juxtaposition and their unchanging physical features. In their microcosmic expansiveness, they can alternatively convey impressions of joy, sorrow, love, indifference, familiarity as well as inscrutability. They relive potentialities, they entail pensive pasts, they call up imagined futures and they even interrogate their own selves and suppositions. Patnaik has been working on the Relations series for quite some time now. It will be interesting, therefore, to explore the kind of selves articulated into the batch of works on the Relations series. 

VIJENDER  SHARMA - His mind-boggling works speak and walk the viewer into its story, speaking of the inner and outer worlds. It could be satirical, esoteric, psychological, innocent, spiritual, dreamy or surrealistic...many such deeper emotions that we could relate or connect with. A contemporary artist, yet realistic in his own way, his paintings speak volumes of his own search in life as also his understanding of the unknown. Vijender seems to be a melancholic modernist who creates works that fool the eye and have an added edge of surreal dimensions. His paintings, many of them are not muted in color, but they are bold and powerful and always carrying a story to narrate. The textures that he adds to each canvas echo the trials and tribulations of observations he ponders over in the everyday idiom of lifestyles and living.

Text compiled by Sangeeta Juneja from various articles written by Anirban Bandyopadhyay , Madan Meena , Uma Nair , Malcolm Grant, Geoffrey Mason & Shail Choyal.

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Inner voices - outer masks | 1st - 30th May 2019 | Amber Fort, Jaipur

Inner voices - outer masks  | 133rd show by Gallery Artchill

Art, since prehistoric times, has influenced man. Art can speak where words fail. Nature offers us pictorial and aesthetic beauty as images and ideas. Today’s painters of the Contemporary World  seem to be  melancholic modernists who create works that trick the eye and have an added edge of surreal dimensions. Their paintings, Graphics or Sculptures may not be muted in color or form , but they are bold and powerful and always carrying a story to narrate. The textures that they add to each canvas echo the trials and tribulations of observations they all ponder over in the everyday idiom of lifestyles and living.

Inner voices- Outer masks,  surveys a body of work that leaves itself incisively open, somewhere between being created and wholly complete. For each of the artists, who create intimate glimpses of uncanny worlds and mindscapes suffused with an atmosphere of the unknown and paranoia , change is an inevitable development. Processes and the possibility of instability, openness, and perpetual transformation underlie the creation and understanding of all the exhibited works. After all you require quite a spiritual effort to effect an exact  transformation  of the raw life experience into palpable art .

Vijender Sharma, who excels in the Art of the figure has spent 2 decades probing for the hidden pulse behind appearances. He was particularly attracted to subjects and thinkers who looked beneath the surface of the modern world – to create corollaries where even a stone wall seems to have a secret life. Painted in over two formats of depth and abstraction the experimental stylization of figural form which he developed  has coalesced into a confident, subtle, yet deeply elegant visual archetype which recurs throughout his works, particularly as he returns form abstraction to figurative portrayals.

Some of the strongest & serious compositions in this show are works by PN CHOYAL a strong & committed artist, his multi-nuanced compositions have the vital rhythm of lived life. Also to create vitality& dynamism in an animate mass is a difficult proposition. This demands not only a good plastic sensibility but in addition the capacity to redo this same sensibility into objective material forms. P N CHOYAL deserves high praise for his expressive brushwork , the special realism, and even at the moments the psychological penetration . He has no intention to flatter humans, rather he rests out of the human frame , or out of any organic frame, images of power and movement , and of the feel of reality behind appearances.

Gazing at huge works of Jagdish Chander , we find that it is not normal portraiture, but a method of working out human faces wherein each detail is knit in a pattern, and that pattern overrules the separate details of a face. Apparently, the artist aimed to electrify the whole of his compositions, so that viewers strongly winced; for his work is not designed to be a polite, or pretty one, but the very foundational base of our being :in his work the heart is laid bare, tellingly. A sensory contact with an outer as well as inner mental environment occurs - which the deeper physical, emotional and the rational centers receive and interpret.

Akash Choyal’s life is art, his art is dream and the dream is his reality itself, says Sandro Orlandi the Italian Curator on his art -  The artworks are made of a never-ending alternation of reality and dream, art and life and so they create a dance that shows, hides and intertwine rationality, the deepest and most intimate ego and imagination. Using a Freudian terminology, Akash lives and creates in a state of “preconscious” that means it swings between conscious and unconscious creating a rare, uncertain, mysterious and above all sincere dimension. In the dream everything is possible, the mathematical rules, society’s strict limitations and the influences both cultural and physical are completely absent. The spirit is free to create wondering about this world, accessible only by who is able to dream, to lose control and so to be sincere and natural.

In this curated show  Akbar Padamsee’s magnetic watercolor with three faces with expressions as if in interlock, is on display alongside a mixed media early work by Paritosh Sen, who is known for his vivid illustrations of everyday urban life. His strokes are bold and stylized which help his human figures express a myriad of emotions.  In current scenario of TERROR  making its marks everywhere , Dharmendra Rathore’s works give a message to the youth- it is the duty of the new generation and the youth of the world to choose issues like world peace, green peace and adopting healthy environment over such violent and harmful options. We need to remove the band of glamour and misguidance from our eyes, as the misuse of strength and power always leads to the exploitation of the women and nature. Abbas Batliwala has an uncanny talent to combine complexity & simplicity to great visual effect in his amazing compositions. Surendra Pal Joshi’s work explores the leitmotif of the textural idioms which arouses an unbridled pleasure, it leads invariably to an addictive idiom of continuous stimulation-by-image & a loss of correspondence between real-world imperatives & inner-world fantasies: reflecting in some ways the conditions of artistic practices within the broader domain of expressive culture.

Dileep Sharma chooses to focus on the dynamic and dramatic changes in the field of sports, both on and off the field, as well as the gradual blurring of these once-separate realms. His work is a satirical take on sports figures who are today recognized more for their activities off the field than on it. The demi-god status of these icons is amplified through the positioning of smaller surrounding figures literally looking up at them in dazed wonderment. Jai Zharotia puts the real world on trial, masking and unmasking identities, subjugating the puppets to his will. Games of manipulation and illusion are not merely performed in the circus ring but also played out in social and political situations. For Jai the puppeteer, juggler and the clown represent the interface of the comic and tragic forces that co-exist in our daily life.

Shahid Parwez’s  sense of humour which arises from the perception & depiction of incongruities of existence rules  his work ,yet over all treatment is a subtle blend of an adult's experience & a child like fantasy. His satirical take in many works like  ‘Who wants to grow up’  & ‘Let me Judge you’ invite great admiration. Kanchan Chander’s powerful installations on NEW Goddess of today, the multitasking woman who perceives her varied roles & plays them to the hilt have as much impact as her works from series ‘Frida & Me’ .  The oil semi nude by Sumahendra, who since bygone ages is suffering silently behind the closed doors , powerless in every sense of the word : the brick structure indicates she has a secure home but in reality she has never owned any property nor  was she given any decision making power. His tempera work on ‘Sati’ the rooted woman in Indian traditions is an impactful work. Moumita Ghosh is also an unapologetically personal storyteller of reality, hyper reality and fantasy & every work  of hers has multiple elements, these are stories that coexist or interlock, just like simultaneous strands of life. So, what could have been a fragmented, dislocated vision becomes instead a slice from life's composite mosaic. At times she cakes the faces with opaque color or streaks them. In their 'make-up', the faces reveal a gamut of emotions. Some faces, like the clown's, defy iconographic conventions. 

Sant Kumar a young emerging painter portraying expressive ethereal smoky faces says , ‘ I take cue from smoky reflections of ME & YOU mirrored in illusions which sometimes flare up & sometimes extinguish….. these colored images pour down with a gust of wind & splatter of rain….I feel I am a drone in never ending season of colors’. Artist Ganga Singh  deftly uses elements of abstraction, distortion and simplification to create an alternative world and life where the physical and mystical co-inhabit. ‘’My paintings are based on my response to nature. They are modern designs with a strong primitive and tribal influence. Symmetry plays an important role in my painting with powerful and simplified forms.’’ Ashish Shringi’s body of works in the last two decades has remained inspired by the Tantrik symbolism and traditional art forms of Rajasthan. Living in Bundi the essence of his art always bears the fragrance of nativity. In his paintings he has widely used Tantrik Yantras and symbols contextualizing them with his personal experiences of human relationships. His compositions are highly complex, multidimensional and inter-weaved with multiple perspectives. 

Manoj Mitra who mastered watercolors as well as oils decades ago is enchanted only by female forms amid natural surroundings. He feels that sometimes a very calm looking woman could be hiding smoldering fire within of high magnitude, or could be hiding several layers of shocking secrets whereas a beautiful person could be discovered as being flat in expression& totally devoid of emotion. Subrata’s paintings are like  celebrations of  a great human survival. The uncommon vibrancy and stimulance of each stroke of color, the passionate imagery of men or women are ageless and ethereal. That of a superior painter’s creative latitude so incessantly prolific which never appears a cliché or a repetitive chore. Living in current times Subrata recoils from the increasing materialism in our society as it is replete with disguise & beauty-masks .Sanjay Bhattacharya feels that any kind of material that women use to adorn their body makes them beautiful, for example I look at tribal ladies plucking flowers and leaves and weaving them into their hair, and then walking away sinuously. Chirayu Kumar Sinha’s ‘Chhamiya’  Sculpture head in the show indicates ladies who do not have good make-up sense, but they apply make-up materials without any taste and this beauty they feel because of that, creates some illusions within them & their walking style itself changes because now the illusion of beauty has taken root in their minds.

Srirupa Sen shapes teapots into forms in whom she sees signs of natural beauty: women, dancers, costumes that flow like liquid fire. ‘’This way, the fire in a way, nourishes this illusion. Life flickers into the teapot, bringing the dancers to life as steeped tea nourishes my soul as well, all of us dancing into life in the stillness of dawn.”

We are consciousness manifesting in physical form, shares Sculptress Sultana Khan. ‘’We are not our body and we are not our thoughts, we are pure energy that is here to experience life in a physical form. We have chosen to come to this planet in human form and we have chosen to take on the shape of what we call the human body. But that's not who we really are. This is where the illusion of reality comes into play.” The very impressive Serpentine like bronze by Dieter Kunz that seems both embedded in the stiletto as well as emerging from it , successfully conveys evil traits hidden behind the facade of today’s glamorous world. Some  significant works with minimal approach are the bronzes by Naga an emerging artist , which signify the need to protect the female child as there is immense pressure on Indian woman to produce a male child owing narrow mindset of some people & which also results in countless female foeticides in India.

The show ‘ Inner voices- Outer masks’ which is offering a holistic Art Experience ,comprises of over 125 artworks- Paintings, Reliefs , Serigraphs, Sculptures & 3D art spread in 5 lobbies at Gallery Artchill , inside the famous Heritage monument - Amber Fort  & is on view till 30^th May.

Compiled & Curated by
Sangeeta Juneja 2019

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Urban Kaleidoscope Solo Show by Suparna Mondal

Gallery Artchill is showcasing it's 126th Exhibition inside AMBER FORT, JAIPUR.
spread over 5000 sq.ft. located in the west wing of this famous Heritage Monument, this Gallery provides a unique & holistic art experience !

Solo Exhibition  by SUPARNA MONDAL

 “Imagination is the beginning of creation. You imagine what you desire, you will what you imagine, and at last, you create what you will” – George Bernard Shaw

The Urban Kaleidoscope is a new passage to the Jaipur Journey by Suparna Mondal.

The fusion of neons, bright colours and the precision of lines speak vociferously of her work as it denotes her style and philosophy of the art produced. Art, in which traditional norms are broken, to liberate oneself to the spirit of experimentation. Contemporary artists are now open to experimentation  on new ways of visualization and Suparna has also explored fresh ideas & use of varied materials and medium. She has moved away from the narrative, towards stylised abstraction to portray the energy, pulse & dynamism in these Urban fantasies.

In a very heart to heart conversation with the artist, Suparna Mondal says ,her journey started from Haldia, a small town in West Bengal where she was born. After schooling, she moved to Shantiniketan to pursue her higher studies in the field of fine arts. Thereafter, Viswa Bharati became her second home for nearly seven years. She recollects for a moment and says, “Shantiniketan was not a very buzzing place like Haldia because it was silent and calm, mainly surrounded with nature. It was unlike Haldia which was bubbling with activity, the beaming lights and sounds of honking. My seven years at Viswa Bharati helped me to understand the harmony and coexistence between sound and silence.”

Urban Kaleidoscope showcases a culmination of bubbles titled  ‘The Touch of Life’, New Galaxy’, ‘Romancing Streets’, ’Forest Window’, ‘You Are Here’. These bubbles are waiting to burst with their spirit of energies to celebrate the ease, the play of colours, tones, lines and forms. The collage of acrylic and mixed media, that have become intrinsic to her style, add essentials to understand each painting. Each of these paintings works as a timeline in the artist's journey. The apparent depiction of Urbanization and its hazards, the way we humans are dealing with it now & will deal with these hazards in the near future, is something each one of us needs to introspect.

The true picture of where we are heading to, is what the artist conveys though her works, and it also happens to be her personal journey. The one she has travelled all along searching to find herself, identify herself, adapt herself to each of these metros or cities. A transition in her life comes each time she looks out of the ‘window’, the window that plays a major role in her life. Suparna says, “windows have always held importance in this journey of mine. I have seen stories of different cities through it and have spoken to the beaming lights and their sounds too. My prime focus remained to be able to narrate stories of yesterday, today and tomorrow.”

Metros have now become home to the artist and the window substituted with the canvas on which she narrates tales of these cities as each city inspired and was creatively captured on these canvases by the artist - covering all the context from the streets to skyscrapers, nature to city heights, pace to peace and from shimmering lights to fragile windows with controlled drawing of lines , use of bright colour tones and  use of interesting mixed media.

The artist specifically focuses on the transitions happening in the city life surpassing through various seasons. Attempting to capture surprises that life brings each day and will continue to do the same in the coming years, she reminisces of how life used to be and shares her experience of the changes. Graphing the cities - where skyscrapers kiss the sky and the aroma of the falling raindrops overpowers the buzzing life in the city.

In this cosmos, fascination with art and use of intense warm colours in these architectural urban scapes , she composes a rhythmical succession of the different features of the city life – living or nonliving to convey the feelings of emotional liberation which needs to be corrected in time.

Kiran K. Mohan

Curator

2017

Uttara Museum of Contemporary Art- SINGLE ARTIST MUSEUM

SPECIAL NEWS ON ART 

Artchill takes great pleasure to make this special announcement to media in India & Abroad:

UTTARA MUSEUM OF CONTEMPORARY ART opens in Dehradun- showcasing  a permanent collection of 50 artworks by Surendra Pal Joshi,  which is first of its kind to open in India, dedicated to showcase artworks by ONE Individual artist only.  Surendra Pal Joshi hails from Garhwal basically , but he is based at Jaipur for last few decades. He is a multiple award winner including National Academy Award( 2004) ALL INDIA AWARDS & STATE AWARDS,( resume attached)

Inaugurated recently by Honorable Chief Minister of Uttarakhand, Sh Trivendra Singh Rawat, this museum is in a specially designed building at Dehradun & is showing paintings, drawings, photo art & large installations by Joshi. It is now open for public each day.

Each work is conceptual , modern & the range of his works is multimedia-multidimensional, it is also at par with International artists' approach to Contemporary Art . Some sculptures are significantly based on the Uttarakhand tragedy of Cloudburst - a cascade of safety pins in shape of water fall , large helicopters made from safety pins are a Salute to the daring of Indian armed forces that conduct evacuation & save thousand of lives during such calamities. His approach to art ranges from  abstracted-minimal to fullsome in some pieces of art.

The Museum space is aesthetically  designed & collection is on view for public.

                                                           

Layers Of Silence by VINOD SHARMA

Gallery Artchill situated inside Amber Fort which is a famous Heritage Monument, is hosting a Solo Show of Rockscapes by Eminent artist VINOD SHARMA.

Layers of Silence
  

Celebrated landscape painter Vinod Sharma brings a genre apart from usually prevalent experimental trends in contemporary painting art as his preoccupation . His Landscapes have been profusely seen in National and International art shows as a recurring theme since his early time .

Though he grew as a printmaker, but eventually turned an eminent landscape artist . Vinod has carved out his constant identity as a master of this genre. Unlike other trends he has chosen an untrodden path .What inspires him are sea beaches, solid silky rocks, shining sand grains and roaring water reecting the skies. He transforms their reality into mysterious and magical forms hitherto undiscovered and unventured. His landscapes exhibit inexhaustible wealth of nature – he creates their colours, contours & curves, with heightened imagination and sharpened sensibility .

Within this chosen genre Vinod Sharma's Rockscapes present an immense range and variety, and in output most prolic, create an enchanting spectacle, at times it bafes one's view and analysis. However artist's effort is to creatively record the subtle and surreal phenomenon that purportedly evokes a sense of innite beauty, spiritual feel and all pervasive tranquility. The history of landscape painting is of peculiar interest since it is not so common these days in the contemporary experimental art scene. Landscapes were treated, generally as background for image or images and not as object of separate aesthetic contemplation . We have several examples of this kind of practice then and now in miniature paintings and in the works of great western masters where the best part of the landscape was painted as necessary backdrop . Landscape painting is essentially romantic and specically a romantic creation of 'atmosphere' for its own sake rather than a revelation of experience ( Herbert Read ) It is a love of comfort and joy also, in some sense a refuge in, and a back step to an idyllic sensuous, soothing world from the chaotic burdensome & boring urban world. Hence Herbert Read rightly gives more denite name to the quality that distinguishes landscape painting , he says, “ I think it would have to be called POESY ”. The leitmotif of artist Vinod Sharma , as it appears to be, expresses Romance

with Nature. The elements of landscape open up to him the possibilities to render them as his pictorial statement. The appeal of his art endeavor is not in conscious perception but in intuitive apprehension, say not in thought but in feeling .These landscapes are artistic manifestations realized through the medium of his personality. His approach and treatment is meticulous, there is no effort to depict the verisimilitude, Vinod admits 'it is not a copy of the real'. Suffused with excessive light and hue as his distinct stylistic preoccupation his seascapes and surroundings are vibrant and sublime. This approach to his art practice , the way he envisages visual panorama may have the inuence of printmaking technique. He mysties the territory by adding  perplexities to its beauty and dislocates a viewer but engages one to participate in his deliberate creation. He thus makes a difference by  creating myriad-colored landscape to embody his own interpretation, they are products of sheer imagination as John Ruskin quotes in 'Modern Painters' that the highest imaginative faculty sieges the material - and all that afrms, judges and describes , it afrms from within.

To enjoy the unique and pleasant wonderland in wilderness by Vinod Sharma one may echo with the artist –

Art for art's sake, Why not?

Art for life' sake, Why not?

Art for pleasure's sake , Why not?

What does it matter as long as it is art?

Dr A. L. Damami

Fragrance of Abstraction by Madan Meena

The Water lilies painted by Madan Meena seem like a floating mat of foliage crowned with resplendent blooms that open every morning, then close for the afternoon …....

Madan’s direct observation and perceptual study of water lilies near his hometown , has led to these amazingly stylized & semi abstracted series of paintings.These water colors executed with clever fluidity of his energetic strokes on paper ,feature these fragrant water lilies on stagnant water , emerging from almost-abstract compositions of broad strokes of bright color and intricately built-up textures. His varied compositions in the show particularly depict the effects of light and shadow on color, recording how the appearance changes as the light shifts .

This Lotus series is part of Madan's early work between the years 1998 and 2000. Bundi's Jaitsagar has always been his source of inspiration and he has used it's pond in his works time and again.

As Manet once said "There are no lines in nature, only areas of colour, only one against the other." This work has it all, from the tenderness of his early years which are full of wondrous inspirations to the eagerness of exploring his artistic manoeuvres. The playfulness recreated by Madan in his own artistic translation has given a new definition to the Lotus pond of Jaitsagar , Bundi. 

Presenting the Lotus pond in an impressionistic manner & then moving towards its abstraction, one can marvel at Madan's flexibility, both of his tonal power & that of drawing , playing with a very broad spectrum of colors at the same time. From early morning misty hues to midnight imagery of Lotus pond in mysterious blues to exotic reds at evening , he has presented a broad pallette in this series.

Selective 30 artworks by Madan Meena are on display at Gallery Artchill, Amber Fort, Jaipur . INDIA.

Special 4 artworks by Dr. Madan Meena from his miniature inspired series will also be on view.

Daily 8 am- 6 pm, From 27th Aug - 2nd Sep 2016 including Sundays

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Gallery Artchill - Art Tour Destination in India

Coming to Amber Fort???

Visit Gallery Artchill inside Amber Fort, Jaipur, which is  the ultimate -Art Tour Destination for
‘’ A Unique & Holistic Art Experience’’

Gallery Artchill A permanent Art Centre inside main Amber Fort  with a huge display in its Art Galleries in west wing of Amber Fort  is now becoming a popular place for tourist to see in Jaipur.

We display creative & multimedia art and store few hundred stylized Paintings , Sculptures ,Installations, Graphics & Photo Art by eminent as well as emerging Indian painters, which is a grand visual treat for Art Connoisseurs . 

A section of this gallery shows Modern Oldmasters of India in its Museum section. Gallery has sponsored over 122 exhibitions in last 22 years ( since 1994) & recommended In Lonely Planet. 

A grand visual treat is guaranteed as Art Lovers enjoy the unique Art Collection. Apart from Contemporary art on varied themes- in semi figurative styles, abstract art , semi abstracts & surreal styles we have exotic Indian miniatures by artists of repute.

As a routine brief lectures are given to tourist groups while showing them around the lobbies & explaining the varied conceptual art ( Concept notes are also placed besides most artworks)

We have another branch JUNEJA ART GALLERY at Bais Godown Jaipur ,with display in its several exhibition halls & inventory.

Address- Gallery Artchill, West Wing Amber Fort, Jaipur. 302028
Ph- 0141 2530025/15,   Cell- +91 9829011964, 9887372180

Timings- Gallery at Amber Fort DAILY 8 am to 7 pm. Sundays Open.    Area 4800 sq ft.
Timings- Juneja Art Gallery at Bais Godown- 9 am to 8 pm. Sundays Open  Area 6000 sq ft.

        

Gallery Artchill, Amber Fort, Jaipur

               

Gallery Artchill, Amber Fort, Jaipur

Gallery Artchill, Amber Fort, Jaipur.

Gallery Artchill, Amber Fort, Jaipur.

Gallery Artchill, Amber Fort, Jaipur

Gallery Artchill, Amber Fort, Jaipur