'India: The Revealed Mysteries' by Gallery Artchill

'India: The Revealed Mysteries'

June 4th - 30th September 2014 , Venice 

Curated by Sandro Orlandi of Italy & Co Curated by Sangeeta Juneja , India

Gallery Artchill takes pride to announce the opening of Indian Art Show titled  'India -The Revealed Mysteries' in conjunction with the very prestigious Venice Architecture Biennale 2014 at Venice.

Such an art show of over 100 selective art works by 28 Indian artists , revealing a new face of India at a city like Venice which is considered to be the Art Capital of the world , is quite an achievement for each of the artist exhibited. Organised by Jaipur based Gallery Artchill’s collaboration with ARTntide of Verona, Italy , this exhibition showcases a vast expanse of perspectives in multidimensional and multimedia works that are presented in this curated show.

4th June saw a fantastic opening of this show with special performances by Italian Pianists & Singers , a huge gathering of art lovers admired the works & interacted with the artists & the curators . Artists present at opening were ARPANA CAUR, SEEMA KOHLI, CHINTAN UPADHYAY, AKASH CHOYAL, MUKESH SHARMA. Seema kohli gave a performance on - 'Is death possible' in the backdrop of a video film on the opening day. The unique styles &distinct artistic attitudes of these artists in the show  intrigued the visitors- from massive installations by Bose Krishnamachari, Surendra Pal Joshi, Mukesh Sharma , Chintan Upadhyay to small photographies . The 3D art of AKASH CHOYAL, the huge sculptures by Thukral & Tagra, Ravinder Reddy, Krishnaraj Chonat , Subodh Gupta -all attracted the art lovers .

It gives me immense pleasure to declare that this is indeed the biggest show of Contemporary Indian Art ever held in ITALY showing selective art  of well known Indian Painters & Sculptors on such a big scale .On view for full 4 months duration June 4th, 2014 to 30th September 2014, the show shall provide great visibility to Indian art; it will also strengthen Indian Art positions internationally. The show is elegantly displayed  over 1100 sq yards of an area , this location is one of the beautiful part of the Arsenale Novissimo – Arsenale Nord the “Tesa 92”, which is hub of all events during the Biennale & is right opposite venue of Architecture Biennale connected by a canal.  The show in collaboration with ARTantide of Verona , Italy, with their Institutional support of the City of Venice and the public Company Vela SpA. 

Sangeeta Juneja is the founder of Juneja art gallery since 1994 & Gallery Artchill since 2008 which is a prestigious art space inside Amber Fort of Jaipur, her galleries are primarily  responsible for introducing the concept of Contemporary Art in Rajasthan.  Artchill takes part in International Art Affairs to boost Indian art-awareness abroad & is keen to establish Art Exchange Programmes in order to introduce art across the borders & initiate art exchange between different countries.

Art is meant to reach out to your inner self and elevate your spirit. It makes a deeper connect with your sub conscious but only if you decide to surrender yourself to the experience that art can offer to you, I am certain  that this Indian Contemporary Art Show, unravels some mysteries for each visitor and connects with their personal cosmos. The show is a unique and diverse palette of art created by the best of Indian artists. The list of artists include well known, established, award winning artists and the young promising names  ( Ashish Shringi, Moumita Shaw, Madan Meena )of our contemporary world , each with a distinct artistic attitude.

 “India -The Revealed Mysteries” curated by Sandro Orlandi is an endeavor to introduce you to various narratives on life through art, as best understood and presented by each artist. It could either be a statement on moral philosophy, social concerns, political opinions, personal anguish, hidden fantasies or activism. It is a first but very positive and promising step which will take us to a vibrant cultural exchange of Indian and Italian Art in future.

All in all this is an incredible & noteworthy Indian Art show on Italian soil, hence i request favour of adequate coverage .

Venue-Spread over 1100 sq yards area , this location is Arsenale Nord the “Tesa 92”,

Arsenale Novissimo –which is hub of all events during the Biennale & is right opposite venue of Architecture Biennale connected by a canal.

Artchill exhibits diverse palette of creative & multimedia art by Eminent & awarded artists. In last 2 decades Artchill has sponsored 107 Art shows & also showcased Indian Art in various International Art Events. During 20 years the gallery has grown into 3 branches in jaipur creating 8,000 sq .ft. of total art space.

28 Artists in the Show “India -The Revealed Mysteries” are

S H Raza, 

Subodh Gupta

Arpana Caur

Ravinder Reddy

Surendra Pal Joshi

Seema Kohli

A Balasubramaniam

Anita Dube

Bose Krishnamachari

Chintan Upadhyay

N Pushpamala

Mukesh Sharma

Akash Choyal

Thukral & Tagra

Jai Zharotia

Nikhil Bhandari

Dileep Sharma

Dhiraj Singh

Tejal Shah

Baba Anand

Krishnaraj Chonat

Shilpa Gupta

Bharat Sikka

Vidya Sagar Upadhyay

Madan Meena

Shahid Parwez 

Sunil Padwal

Moumita Shaw Ghosh 

Ashish Shringi

'India The Revealed Mysteries' full video

 

'India: The Revealed Mysteries'

Celebrating Faces by Deepak Khandelwal | 5th Jan. - 11th Jan 2013 | 93rd Show of Gallery Artchill, Amber Fort, Jaipur

"Celebrating Faces" 

showing  recent  Paintings  by

Deepak Khandelwal
at Amber Palace , Jaipur ( 5th- 11th Jan,2013)

 

Show Continues at Juneja Art Gallery from 11th to 16th Feb. 2013

Art Corridor at Le Meridien Jaipur from 4th to 9th March. 2013

Celebrating Faces

 Face is an identity embodied. 
Face is the window of one’s soul. 

If face is the real mirror of his heart, there could be no doubt that anyone could make out what is going on in his mind, say the poets. There are people who hide their emotions, thought process and intensely felt feelings. They could be strategists, diplomats or at their worst hypocrites. But faces often don’t cheat. Philosophically and theoretically speaking, face is the border line between the public and the private. A person becomes an individual with a distinct identity only when he/she is named and tamed. A nameless person is a wild person.  Faces, therefore anticipate a name, a story and a tangible individual. 

How do we understand and locate the identities of the urban people who often aspire to look like the successful models in their lives? What happens when a city is filled with people who have similar looking faces? What happens when an urban space is infested with people who think that their distinction is their identity while in fact they do not have any to make a claim on? These are the questions that Deepak Khandelwal raises in his beautiful, eye-catching, pleasing and decorative works. These qualifications that I give to Deepak’s works are not to condescend but to ululate the covert artistic strategy that he has taken to ideate and debate a vital issue that we confront in our contemporary times; a crisis in identity. Charlie Chaplin, while debating the industrial modernism through his celluloid interpretation of the same in ‘Modern Times’ depicts one of the greatest montages in the history of films. At the opening shot of the movie, a herd of sheep moves thickly within a space, which slowly transforms into a set of bowler hats that people wear to work in factories and the scene is further juxtaposed with that of a huge clock that shows the factory time.

We have crossed and reaped the benefits of industrial modernism. So have we got the side and ill effects of the same? Today we experience a different modernism; the information technology modernism. Our work spaces have become highly sophisticated and the internet space offers stardom to each and every person who uses it. In that sense, we have all the reasons to believe that we have gained independence as individuals and we have got our distinct identities. However, in reality, the urban spaces are the places where one tend to lose the identity and become one amongst the herd or the famous montage scene of bowler hats. We become another person in the city who listens to the FM channels via headphones, or any person who looks like a silhouette in the larger canvas of the city. Interestingly, the urban spaces are where distinction of identity is played up through advertisements and shop windows; these are the places where they assure distinct identity and individuality. 

However, identity is in crisis. It is not about the identity crisis that the human beings used to feel during the industrial modernism. He was more pre-occupied with the alienating effects of the products that they used to produce and consume. Today, the human being is more acclimatized within the general firmament of mass production and things of its ilk. He has overcome the identity crisis. Still the identity is in crisis. If the question of self definition and demarcation of social role and position causes identity crisis, identity in crisis is caused by the collapse of all systems that support the proliferation and prolongation of identity as a sustainable resource for self growth and maintenance of self esteem. Each moment, a human being in an urban space is asked to change according to the new environment of desire. With a strong identity in place, as affirmed by the social networking sites etc, the individual feels oppressed as he is caught in a ceaseless whirlwind of demands and desires. This causes an imaginary collapse of the systems of belief around. He/she is forced to change the faces as per the demands of the society. He understands the crisis that happens to the very notion of identity. 

Deepak Khandelwal while painting the faces brings this vital issue into focus. He posits a person within the identity discourse as a face, which is discernable from a distance but turns into abstract forms from proximity. This is exactly what happens in the urban locations and situations. A person looks desirable and complete with a distinct identity from a distance may look absolutely stereotypical and confused when seen from close quarters. It is not just about a feeling of physical approximation of the possible disillusionment caused by familiarity but it is a philosophical state of people who are seen effective and authentic from a distance transforms when confronted closely. The new realities experienced within the social networking sites affirm this observation. The abstraction that Deepak deliberately attributes to his images and figures is triggered by the ideological stance that the artist takes when he negotiates the very idea of identity in crisis or identity as a crisis.

Interestingly, the people that we see in Deepak’s works are depersonalized presences of alluring faces. One looks for familiarity while experiencing a sort of generic nature in all of them. They are like glass facades of the high rise buildings and corporate offices and shopping malls. They impart a sort of transparency and transfuse a kind of intimacy with the people who are outside these establishments. The idea of familiarity, invitation and transparency are highly mutated by the reflections of the onlookers on the glass facades. Here juxtaposition of two faces happens simultaneously. On the one hand, the face of the establishment embodied in the glass facade engulfs the face of the individual who stands outside and merges it with the products or people who are inside it, causing the confusion of a narcissistic self and the objects of contemplation/desire. 

This confusion, in fact generated by the mutual transference of faces in the hope of finding the truth inside, is what goads Deepak to make the faces in his paintings beautiful and mysteriously layered at the same time. Corporate economic establishments give out the feeling that they are open to the public in a democratic way. But the truth is that they give only the illusion of transparency. Slowly the people who work in the urban situations and move around in the urban locations become victims of this transparency, almost losing their identity and faces in the forced juxtapositions with the products that encapsulate the economic as well as politico-cultural agenda of the very same establishments. This is the cause of crisis in identity. Once caught in this maze of self deception than self reflection, people become transparent faces. And that is what exactly happening in the works of Deepak.

The faces in Deepak’s paintings become glass facades causing a forced metamorphosis of the people into establishments that depersonalize everything through the illusion of proximity and familiarity. People in the urban spaces look familiar but similar in the way the economic establishments are in the same locations. They reflect others on their faces. The same depersonalization of the selves happens in the corridors of urban malls is replicated in the faces painted by Deepak in his new series of paintings. Instead of reflecting the faces of other people, Deepak cleverly juxtaposes these faces with various stereotypical samples culled out from the urban high life. For example an onlooker could see dancing couples in dapper suites, swimmers and bathers at pool side, loving couple moving around, fashionable girls on runways, jaywalking people in the streets and so on. What happens here is the human being on whose face these images are painted on becomes a hoarding all by him/herself. He becomes a billboard where other desirable models of urban life are depicted in their most alluring forms. The faces, instead of becoming the heralding zones of identity turn themselves into crisis zones where identity is changed at each passing moment as if they were on a digital hoarding in the Times Square or Piccadilly.

However, one cannot forget the fact that Deepak is a great face reader; rather a reader of faces in his own fashion. He likes people and likes watching people and the innumerable expressions that come to their faces in various social, familial and intimate occasions. 

These emotions are translated and celebrated in his paintings. The love for face is not just limited to his love for ‘beauty’. 

As he believes in the dictum that the beauty lies in the eyes of the beholder, he likes to see various faces with various hagiographic qualities. They need not necessarily be the ideal beauties. According to the artist he is a ‘lover’ of faces that reflect the beauty of mind. Even in the people he comes across in his walks in the city streets and the village alleys, provide him with subjects as they are most of unguarded while wandering in the streets. They express their own selves through a sort of abandonment. And Deepak does not want to keep his elation under check when he really feels happy about the people whose faces show a variety of worlds contained in the ‘limited’ physiognomic details. While he is aware of the crisis of identity, he does not forget to celebrate the identities evolved, whether they are natural or affected, and expressed through the faces of the people.

Sangeeta Juneja,  Gallery Artchill

The highly ornamented, decorated and sophisticated backgrounds that Deepak creates as the backdrop for these faces are very important in the discussion of his works. The winding arabesque patterns in a way reflect the autobiographical connection of the artist with his historical city, Jaipur. Once the autobiographical reference is transcended, we could see that these patterns and embellishments in fact resonate with the urban tapestry of life, where everything is seen in order even within the overwhelming chaos. Deepak removes the chaos of urban spaces and isolates the faces as if they were icons of our times. The cross reference is interesting as the artist himself wants to forward a critique on the conversion of faces into digital hoardings where advertisements are flashed, inadvertently resorts to the same strategy to embellish his paintings. Deepak's works represent a time, and a time where identity is gained, lost and researched as everyone knows that it is not the identity crisis rules the minds of the people today but the crisis in the very formation of a singular/unique identity.

Johny ML

October 2012, New Delhi

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Curios of a Different Kind by Gallery Artchill, Amer Fort, Jaipur

 Gallery Artchill Presents it's 92nd Show 

   " Curios of a different kind "

showing  recent  experimental art by

MOUMITA GHOSH ( SHAW)

 at Amber Palace , Jaipur ( 28 Nov- 4th Dec)

Show Continues at Juneja Art Gallery from 8th to 14th Dec. 2012
Art Corridor at Le Meridien Jaipur from 17th to 23rd Dec. 2012

 

Moumita’s  works are replete with human faces and figures – male and female both – and birds, flowers, fishes, butterflies, reptiles also inhabit these, with a certain strange looking appearance. They seem to locate themselves with an expression of ‘where are we/ searching for what? Solace? But where is that? Who is going to give us love and care?’ their faces, and gestures are lit large with question marks of various kinds, and moods. But howsoever strange they may appear, these are not ‘distorted’ figures, as they embody an innocence, and a sensitivity of their own. Their emergence is sure and direct, like we see objects and figures in dreams, where they may not appear in the shapes and sizes of normal nature, and familiar delineations, but in any case they are there, claiming a rugged reality. And we all like to decode them according to our own interpretations and perceptions.

But Moumita’s world is not a wonderland or dreamland only, although it has an affinity with dreams to a an extent. Infact it is about the process of trying to know the cause(s) of one’s joys and sufferings, and while experiencing them, wanting to know how they have affected the body and soul. Simultaneously searching for reassurances to bring oneself on one’s feet again. No wonder in some of the paintings, we find a drawing also of romping figures, and in some paintings the faces and figures seem to float, striving for a firm landing. Moumita is a painter of moods also, and perhaps at the spur of the moment,  brush or pen in hand, she paints/draws her feelings in visual terms. In her paintings detailing does not occur, and whatever we are seeing is drawn separately, not as a ‘detail’. Thus in her works, each image has a ‘separate’ identity as well, and when they come together a context is formed.

A person inflicted with pain or injury or showered with joy does not remain the same in appearance – this also is amply demonstrated by Moumita’s ‘characters’ so to say. There is a painting where certain motifs have been hung, like clothes are hung on a wire. Once we fix our gaze at them, we realize that these are motifs which have been used as signifiers also, and their visual appearance is akin to props in a Theatre. Thus gradually it may occur that one is seeing something of a Theatre/ circus as well, where things appear somewhat differently.

This also brings to mind that in her earlier paintings joker/jester had a role to play. But we must conclude with the fact, that while she uses some elements of theatre, she uses them without theatricalities.

This ‘Theatre’ then has evolved naturally, organically, and there is no ‘acting’ as such is involved. By bearing, and then baring, the experiences of agony, grief, pain, compassion, and also of momentous Joy, Moumita creates a world, which is not depressing, but is uplifting in a sense.

Some people try to suggest that Moumita’s works are close to child art on Naïve Art, but this is not true. In fact she is ‘aware’ about the things she is depicting. She never romanticizes her images. The only thing is that she treats them raw, so a swollen lip, or eye wide open, look somewhat akin to ‘Child Art or naïve Art’.

Moumita also draws/ paints faces in duplicate, and puts them, and us in a quandary. But this is not to puzzle us, but to show how a particular experience is being transmitted visually. Her sources are many, from primitive to pop to painterly. Her colours have a glow and charm of their own. Her visual vocabulary has kept on increasing, and her latest works on paper are literally laced with laces, and glue, and are innovative and poetic.

With a sense of irony, and subtle wit and humour (as is exemplified in painting where three female figures seem to struggle with sartorial options) she captures the quintessence of myriad moods, and emotions, related to the very process of experiencing life. Initially we feel unsettled in front of her curios, but gradually come to terms with them. And start realizing their connotative value as well. 

Prayag Shukla

 

Live the Heritage Photo Art Show by Yogesh Sharma at Gallery Artchill, Amer Fort, Jaipur

 

Live the Heritage
Photo Art Show by  Yogesh Sharma

Inauguration by :  Mrs. Vijay Lakshmi Vishnoi
President of Rajasthan Mahila Congress  

Guest of Honour : Mr. Sundeep Bhutoria
Cultural Activist from Kolkata

 

 89th Show by Gallery Artchill , Amber Palace , Jaipur 
(Exhibition- 3rd to 7th October, 2012)

Show Continues at Juneja Art Gallery from 15th Oct.- 20th.Oct. 2012

Art Corridor at Le Meridien Jaipur from 22nd - 28th Oct. 2012 

 

                                                                     

Spotlight has always been turned onto India due to its timeless heritage. Palaces, forts, buildings, sites and wide natural heritage with its on-going rural life make panorama of this rhythmical subcontinent just incomparable to any other place on the Earth. Cultural and monuments have been powerful enough to preserve same feeling from the olden days, and because of this ability one is not only swept off the feet immediately after facing them, but one can still LIVE the heritage in almost the same way.

Fully mesmerized by the India’s picturesque landscape, especially of Rajasthan, is this Delhi based photographer Yogesh Sharma who has captured its life in photo show Live the Heritage. 100 photographies reflect the main monuments of Jaipur, Jodhpur, and Jaisalmer – all in different shades and times, unveiling details that can be missed by the busy eye, and the essence of the state’s rural life – its milk-run, moods, feelings and various attitudes. Some artworks titled ‘bum to bum’ - rat breakfast.…and thirsty crowd of bees add humor to the show whereas others like majestic lightened night of Jal Mahal & other such scenes keep you mesmerized. One can judge by oneself which time of the day is more suitable for living it……

Magnetic Abstraction by Rakesh Singh | 26th Sept. - 2nd Oct. 2012 | 88th show by Gallery Artchill, Amber Fort, Jaipur

Magnetic Abstraction

Recent Paintings by RAKESH SINGH 

26th September to 2nd October, 2012 ,  at Gallery Artchill, Amber Fort, Jaipur 

Show Continues at Juneja Art Gallery from 6th Oct.- 12th.Oct. 2012

Art Corridor at Le Meridien Jaipur from 15th- 21st Oct. 2012

 THIIS  IS  88th  SHOW  PRESENTED  &  SPONSORED  BY  ARTCHILL  

The Sublime & the Aesthetic combine in spontaneous fluidity....& lightness of touch to create this special show of Recent Paintings by RAKESH SINGH where his colors & strokes collaborate to silhouette something beyond the canvass. something that reflects on the horizon of Human mind.  Ever since the ages ART has been the most ancient, purest & aesthetical medium of carving concrete forms out of indefinite & infinite abstract thoughts that run in human mind....

An Intimate Dialogue With Color

  The moment one looks at the canvases of Rakesh Singh, a certain joy fills the heart and subsequently a sublime feel leads to their emotive intent. The way the colors form themselves by surging forth or taking a leap upward, is most enchanting. It is this spontaneous, yet sure formation of colors into certain shapes/forms, that urges us to look at the colors, and enjoy them without any pre-mediated notion. The color-entities start revealing themselves in their tonal variations as well to enhance our perception of color(s) per say. The colors are not hazy or cloudy here, but have a certain fluidity, and a lightness of touch. Thus without making any extra effort in constructing images or breaking them into parts to abstract them, Rakesh entrusts himself by just following their easy flow; and lets them take their own course. It is this effortless, sensitive handling of pigments, and movement of the brushstrokes, which finally arrives at consolidating certain color areas to bear the intent of each of them. There are no recognizable objects or figures here to fix the images into any narrative and they are open-ended in their semi-abstract formation to give the viewer ample space for his/her own receptive mechanism. But this is not to suggest that they do not have enough verve, and keep on swinging viewers’ perception without any fruitful deduction. Infect the canvases from the very start attract the viewer for their sublime feel, as we have suggested earlier, and the sublime, and the aesthetic feel, when combined, brings a soothing and uplifting energy to the viewers gaze. Here in lies the significance of these works.

 In our daily round of life, we keep on encountering colors in vegetation,  in birds, flower, plants, clouds etc. and in the man-made colored objects, ranging from furniture to fabrics; yet it is in certain works of art that we come across the ‘colors’ in their bare and rare moods, where we respond to them intimately and intently. The blues, yellows and reds, with their various tonal expenses in Rakesh’s paintings bring us close to their inherent enormity also, though they have been used in a scale which is not enormous or expansive in itself. At the retinal level this quality of these works is also most rewarding. In any case, these works suggest that with his exploration of colors, and their aesthetic intent Rakesh has tried to forge creatively a dialogue with myriad emotive experiences and in turn has brought to us the works, one would like to admire for their purity and profundity. This is no mean achievement for a comparatively young artist, who dares to be innovative and explorative.

Prayag Shukla

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Divine…Hearts of Gold by Anand Panchal

Gallery Artchill Organized it's 79th Show

Divine…hearts of gold 
recent paintings by Anand Panchal

Show is on view 

Gallery Artchill Amber fort from 19th - 25th Jan 2012
JUNEJA ART GALLERY from 27th Jan - 2nd Feb 2012 
Art Corridor at Le Meridien Jaipur from 5th Feb - 15th Feb 2012

   Divine …hearts of gold

The little ‘Pujari’ and ‘Pujarin’ completely reign over the picture surface created by Anand Panchal. These exemplify not only the quiet and peace which goes synonymous with temple and Gods but they also effulge with truthfulness and modesty which are akin to childhood. These very young men and women portray certain strength and depth of character which in intensity can surpass same attributes possessed by many elder folk.

There is a spiritual side to the works by Anand Panchal that captivates the viewer completely and for a long time. At first glance itself one can get totally immersed into the wide open yet very tender eyes of the adolescents in the works. The clear and pure depth in the eyes are like open doorways to the soul of the bearer. These eyes belong to innocent souls of unpretentious modesty which conceals nothing behind the façade of made up illusions. The strength of these children truly lies in their innocence and their naïve yet serene attitude which glistens and shines as strongly and brightly as precious stones.

Anand Panchal celebrates such immaculate and crystal clear conscience found in children in his works….the Neatness of the spirit and godliness gets expressed….

There is an overall essence of angelic tidiness and  intrinsic glow in the paintings which grants the works the feel of being lit up. An invisible source of light illuminates all the nooks and corners of the paintings and leaves no dark and dull spots.

He sensitively delineates his figures in such a manner that more often than once they reflect the radiance and grace similar to that of Krishna, Rama, Radha and many other known and unknown gods.

78th Show by Gallery Artchill

Gallery Artchill 

Presents 78th  Show 

Paintings by Subarta Gangopadhyay, Dipika Hazra & Anand Panchal

 at  JUNEJA ART GALLERY , JAIPUR

from 7th Jan - 12th Jan 2012 , daily 10 am to 7 pm

 

 

Motivated by the current atmosphere & events for NRI's in the pink city , On the spur of the moment I have taken out certain special and EXOTIC canvasses from my Permanent Collection and  holding a group show of 3 noted painters- these special works reflect the Indian-ness in our millieu , 

 

SUBRATA GANGOPADHYAY-  works from his mother n child series & eco friendship....Gangopadhyay’s paintings are like  celebrations of  a great human survival. He is enchanted 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 secrets.The uncommon vibrancy and stimulance of his colorful strokes, 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 .

ANAND PANCHAL-   works from his Bhrahmin boys & girls reflecting their religious purity & innocent beauty hence... The innocent and flawless adolescents in the works by Anand Panchal enchant by their exquisite grace, they are an indispensable part of the temple periphery. Born in the family of the ‘pandits’ and the temple care takers, such children imbibe into themselves the elements of the holy surroundings and adapt to them completely. There is an essence of careless beauty and spiritual strength that makes these young girls and boys glow as if illuminated from a source of light concealed deep inside them. He attends to his little angels with affinity, love and thoughtfulness, allowing each of them to glisten in angelic radiance like fresh dew drops on tender leaves. The inclusion of forms such as paper boats, cows, floral clusters and musical instruments add to the metaphorical and allegorical aspects of the works.

DIPIKA HAZRA- works from her Krishna series as well as the ethnic village bellies immersed in lap of nature.... Dipika Hazra lays bare the heart-warming simplicity of Rajasthan, the open attitudes of its humanity rooted in the attributes of her land. Dipika’s palette is diversified and vivid. Her choice of reds, yellows and blacks betokens the love of blazing colors with which the people of Rajasthan make up for the vast and drab attributes of their land. The artist depicts remarkable states of serenity & a striking evidence of great strength and skill in organising forms and colors and creating the effect of enchantment and fantasy. The simplicity and spontaneity with which she handles mundane themes is itself a visual treat. She creates a spell binding impact. Untainted by bumptious modernism, Dipika’s works present a lyrical vision of nature.

77th sponsored show by Gallery Artchill - Recent Paintings by LALIT SHARMA

Gallery Artchill takes great pleasure to Opening of its 77th sponsored show 

Recent paintings by Lalit Sharma
OPENING - 10 am , on 6th Jan, Gallery Artchill at Amber fort.

Show is on view at : 
Gallery Artchill, Amber Fort from 6th - 12th Jan 2011
Artchill corridor at Le Meridien Jaipur from 15th - 21st Jan 2012
Juneja Art Gallery from  23rd -29th Jan 2012

Works of an Inner Tranquility

Lalit Sharma constructs the images of a city – which seem real, as well as imaginary, and this city in its dreamlike situation, offers a whole range of colors spread out in architectural units – of terraces, roof tops, windows, doors, domes etc. in a delightful manner. With these colorful architectural units, one also locates water-bodies , gardens and hills under a clear sky and is enchanted to the core, as the array of colors –reds, greens, purples, blues, yellows etc. in

their totality and variation, become poetic and wondrous. There is a certain dexterity in delineation of forms, and the smooth, texture less, ‘flat’ application of the color, makes the pictorial space more light and subliminal (giving a sense of lightness of being). Leading to an effect, wherein the festivity of ‘kite flying’ seems to take the city itself in a flight. An ethereal joyous ‘mood’ pervades in all these paintings done in oils. There is also a suggestion of thought

process, which seems to be percolating all over the place, to absorb and ascertain, the ‘happenings’ then and there, giving the works a meditative quality, as well. The role of cool and warm colours, placed almost side by side, creates yet another ingratiating, peaceful and calm effect.

One is of course reminded of miniature paintings of Rajsthani schools and Mewar style in particular, as the use of red and green, is dense and intense in certain forms, and the white seems to pave and ‘clear’ the way, for other colors to breathe and exist, in a harmonious manner. This seems to be natural, as Lalit belongs to Udaipur, and a family of artists, who have painted through generations in the very format and essence of miniature paintings, and who have made, as a choice, their surroundings the theme and centre of their works. The only noteworthy difference is that Lalit is working under a sensibility, which is very much related to modernistic approaches, in terms of ‘realising’ and re-creating traditional modes and methods and thus enhancing a ‘personal context’. The city of Lalit Sharma offers a

wide range of angles to perceive it: one may perceive it from the ‘viewing point’ of an architectural height, perceive it from front, and from the right and left corners. There is an uplifting quality in the paintings: each and every area seems to have been ‘built’ with care and love. One knows that the human habitats are no more so serene, and free of pollution; yet to dream of an ideal city, is no escape but a realization of one’s aesthetic, and sublime values.

Lalit does this by creating potent images of manmade structures, and the elements of nature. The flying kites, remind us once more, that there are moments to be realized, which are both earthy as well as ethereal. Thus the viewing of these evocative works is bound to give us, moments of a certain inner tranquility.

Prayag Shukla
New Delhi

76th sponsored show by Gallery Artchill, Amber Fort, Jaipur

GALLERY  ARTCHILL takes Great pleasure to the art lovers for its splendid 76th sponsored show .

....timeless Energy of BENARAS GHATS by famous Indian Painter YASHWANT SHIRWADKAR  

OPENING - 10 am , on 17th Dec 2011,  Gallery Artchill at Amber fort.

This is an exquisite show of palette knife by the Master Painter- Requesting favor of coverage  !!! 

Show is on view
Gallery Artchill, Amber Fort from 17th to 24th Dec 2011
Artchill corridor at Le Meridien Jaipur from 26th Dec 2011 to 5th Jan 2012
Juneja Art Gallery from 8th Jan to 14th Jan 2012

Excerpts from the article on his works--- In the bucolic idylls that Yashwant Shirwadkar paints, the landscapes are picture postcard perfect. At first you are taken in by the sheer prettiness of it all. It is lush and luminescent, capturing with impressionistic fervor, nature at its photogenic best. The  paintings are ethereal and lovely, swathed in blue-grey mist, his works on Benaras brim with the timeless energy of the Ghats. This simplicity however, is quite deceptive. The undulating shore fronts and verdant abundance are a ploy to get you into a deeper level of viewing.... If lighting is used to enhance emotion and mood, color in his work is used to navigate a range of meaning. Bright and rich hues are evocative and lustrous. They accentuate the air of celebration that most of his works exude. The short brush strokes and use of the palette knife also add to vim of movement. The canvas is nourished with energy, color, a sense of fun and joy............ By depicting a plastic paradise with just that little bit imperfection his landscapes remain with us. “Nowhere, beloved does any world exist save that within.” Wrote Rilke in the Duino Elegias.