'Theatrical Assimilations'
27th April- 30th May 2025 at Juneja Art Gallery, Jaipur
148th Show by Artchill
Human body is a vehicle for the traveling spirit.
As the language of contemporary art continuous to evolve, these bold & Brilliant artists explore deeply & offer fresh perspectives on environment, their memories and the rapid transformations in our social fabric. Each stroke is witness to the quiet meditation & dialogue between the artists and the varied media they handle. Each miraculous layer reveals their explorations and deep resonance. Many artists recoil from the increasing materialism in our society as it is replete with disguise and masks. Using their miraculous energy forces & elements of figuration or playful distortion, then simplification- to create their alternate mystical realms articulating their personal vision and concepts, they create amazing narratives through their quasi figurative and abstract visual language.
Some artists like Vijender Sharma, Asit Patnaik, Manash Jena, Khetanchi in this show are expressing remarkable serenity & a stricking evidence of strength & skill in organizing forms, colors & textures to create the effect of enchantment and fantasy. Artworks by Suparna Mondal, Shabana Qadri, Nitasha Jaini show incredible richness & extravagance. Special art by Ashish Shringi, Ganga Singh, Surjit Akre, Sajid Bin Amar, Anjani Reddy & Deepak Khandelwal carry the fragrance of nativity. Artchill is showcasing a very promising artist Shehnaz Mansuri for first time.
Outstanding works of art in this show are by PN Choyal ,Yusuf, Jai Zharotia, Shahid Parwez, K S Radhakrishnan, Nayanaa Kanodia , Surjit Choyal.
These awesome artworks in ‘Theatrical Assimilations’ give us a Holistic & multisensory, rich & engaging Art Experience.
Akash Choyal | Anjani Reddy | Ashish Shringi | Ashok Hazra | Ashoke Mullick | Asit Kumar Patnaik | Deepak Khandelwal | Deepak Khatri | G.S. Khetanchi | Ganapati Hegde | Ganga Singh | Gourishankar Soni | Jai Zharothia | K.S. Radhakishnan | L.N Naga | Laxman Aelay | Manash Ranjan Jena | Meghna Bairwa | Moumita | Nayanaa Kanodia | Nitasha Jaini | P.N. Choyal | Prabir Shaw | Rajesh K. Yadav | Sajid Bin Amar | Shabana Quadri | Shail Choyal | Shabnam Husain | Shahid Parvez | Shehnaz Mansuri | Shiv Kumar Soni | Suparna Mondal | Surjeet Choyal | Surjit Akre | Vijender Sharma | Yusuf
At the heart of Laxman Aelay's bold artistic display lies a singular theme: the radiant figure of Poolamma, beloved mother of flowers, revered in festive tradition by Dalit communities throughout Telangana. With deft skill and a masterful eye, the artist weaves together the tapestry of identity, blending familiar design patterns with hidden layers of meaning. The intricate textiles, though mere copies of the original, find a home within the attire themselves, a testament to the artist's deep connection with the weaving community. But what truly sets this work apart is its empowering depiction of Telangana women. No longer portrayed as impoverished and defeated, they now stand strong and beautiful, their heads held high in triumph over destiny. These women are the victorious mothers of a new era, their material existence a testament to their resilience and hope. In the midst of a free and blooming Telangana, they reclaim their spaces with a fierce and feminine spirit, embodying the very essence of nature's life-giving power
Born in Kerala in 1956 and trained in sculpture at Santiniketan, K. S. Radhakrishnan belongs to a small group of notable sculptors of his generation who have collectively brought about a far-reaching resurgence in Modern Indian sculpture.
The body is a marker of our individuality and our shared humanity, but our political and social realities fracture our collective humanness at many levels. Radhakrishnan engages with this conundrum of our existence through explorations of collectiveness using the human figures- a series of small sculptures in which an infinite number of tiny figures are brought together to form shape-shifting murmuration-like human formations.
He offers these sculptural meditations not as ponderous statements but as subtle experiences- Fragmentation, repetition, and grafting define his work process. Most of his large figures, invoking the singular and almost all the smaller ones denoting the de individualized multitudes, are done by welding multiple fragments together. He is suggesting, as it were, that our sense of wholeness and singularity of form and movement is an illusion born out of parts fused together.
R. Siva Kumar
I have a firm belief that universe mystery cannot be solved. Whenever I tried to solve it, I became part of it. I became stranger to myself and witness a singularity that evoked through my artistry and imagination to create a vivid impression of reality. This is my world as images rise and fall as I breathe. They are not bound by physical reality, they are free to move wherever they desire; they dance up and down, here and there, dissolve into each other and sometimes even disappear. My consciousness summons the images, provokes them and gives rise to my own parallel universe. I may be painting a bird, trees, animals, books, mountains or a clown, women; anything, all become part of one. They are all same to me, no disparity, no discrimination, no caste or creed. I fly with the birds and fall down with a leaf from the tree. I get mixed with the water and flow with it. As I paint everything comes out from nothing and returns to nothing. I am just evoking my eternal space where images rise, evolve, arouse and then liquefy into another space.
The eternal movement of the cosmic world awakes mysteries and riddles which always baffle me; and sometimes haunt me too. They whisper in my ears and convince me of intrinsic unity of the cosmic events.
Artist statement
My work brings urban man’s story on the table the sequencing of images is only through the male form. I have produced one work after another, exploring the urban man as my subject. Women as muse has been used in art both by women and men artist. However my interest lies in exploring the male of the species.
The layering of emotions in urban relations, the swings and pulls pushes of volatile human temperament gets reflected in my work, the city remains in focus, the buildings are omnipresent in my works. The laser cut-outs become the enclosed space for the dialogue. The laser cut-outs retain their machine preciseness, whereas the painted surfaces are human, imperfect, stamped, distorted and layered. Pencil, brush rollers all my instruments.. Photography of staged models is the starting point of my paintings.
Nitasha Jaini
He has carved a niche for himself not just as a figurative artist of the feminine figure, but as a “Figurative Feminist.” His canvases bring a wide range of women-related social and emotional issues to the forefront of our male-dominated world, reflecting the dichotomy of our society like a mirror. Jena’s work highlights the contrast where women are both idolised as ‘Devi’ or Goddess and yet not accorded their due respect.
Moumita
Moumita's art is an unrolling canvas of life, where in are charted, celebrated & endured : the joys, pains, sorrows, agonies & aspirations, which may come in the course of day to day living. The sheer range of her work is enchanting & invigorating. The way she explores & handles the delicate themes & contours of emotions, is a treat to watch. If one of her work is zestful, joyous or pulsating with life, the other is subdued, pensive & conveys sorrow or suffering. The immediacy & urgency of her work, emotively carves out an ideogram in a thoughtful manner.
Moumita's art is an unrolling canvas of life, where in are charted, celebrated & endured : the joys, pains, sorrows, agonies & aspirations, which may come in the course of day to day living. The sheer range of her work is enchanting & invigorating. The way she explores & handles the delicate themes & contours of emotions, is a treat to watch. If one of her work is zestful, joyous or pulsating with life, the other is subdued, pensive & conveys sorrow or suffering. The immediacy & urgency of her work, emotively carves out an ideogram in a thoughtful manner.
She uses her lines & colors in a free lowing manner, to uphold, to toss, to jostle, to swing & to move the figures & faces, in the airiness of the space, or plants them firmly on the ground, to the wondrous effect. The beholder's eye participates in her 'playful act' of communicating or suggesting something significant. Her oeuvre is not only varied, but also large and the quantity is not without soulful outpouring. Prayag Shukla
