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ART DUBAI | 2016 | Booth | A8 

Archana Hande | Gigi Scaria | Jitish Kallat | Mehlli Gobhai | Reena Saini Kallat | Shezad Dawood

JITISH KALLAT

Wind Study (The Hour of the Day of the Month of the Season) | 2015

Reminiscent of unknown neural networks, constellations or sacred geometries, the series of new drawings titled Wind Study (The Hour of the Day of the Month of the Season), become a device to read the complex forces of nature that inhabit the space and time of the artwork. Alternating as hand gestures and wind gestures, they could be read as transcripts of a meeting between wind and fire, between artistic free - will and determinism.


GIGI SCARIA

On top of Ararat | 2015, Voyage | 2015

Gigi Scaria’s graphite drawing titled On top of Ararat  (II, VI, VII, VIII), and his video work titled Voyage, is part of a suite of paintings, graphite drawings and animation videos from his latest exhibition, The Ark. It resonates with one of the world’s oldest and grandest myths: the Flood. The Biblical account of the Flood dramatizes the vexed relationship between humankind and nature. An angered God inflicts a cosmic catastrophe on the earth. Forewarned, Noah survives, with his family and various animal and plant species he has herded into a fragile sanctuary, a ship that floats through the planet-drowning deluge. The video Voyage encapsulates that journey towards salvation, with a commentary on preserved ecosystems of the world under threat due to expansive global urbanization.


ARCHANA HANDE

The Golden Feral Trail | 2013-14

Archana Hande was invited for a an artists’ residency where she  immersed herself in the town of Laverton, Western Australia. She has captured the landscape and its mirages, in her travelogue which meanders through the journey of human identity impacted by geographical borders shifting in response to trade: displayed in this set of photographs is the Goldfields trail in Australia. The topographical contours of the earth reflect these in the form of digs, mines, hills ; all of which hide and narrate stories. Collecting these stories made Archana Hande realize that she always wants to be a landscape painter, with or without borders. 


MEHLLI GOBHAI

Untitled | 2015

Mehlli Gobhai’s paintings have often been thought of as offering their viewers a temporary reprieve from the frenzied music of life. Gobhai’s works address a specific formal problem : the split between surface and structure that is a defining characteristic of much modern painting. Gobhai proposes a resolution by establishing a dynamic relationship between surface and structure. In the surface, he dwells on the attractions of organic form and metallurgic physicality, charging his paintings with the feel of stone and fruit-rind, earth and leather, river-veined rock and metal sheet. Structure marks the other pole of Gobhai’s personality: here, he refines the bodily human presence to the briefest but starkest notation, that of the axis, which is also the pivot around which the universe turns. Surface and structure are tuned finely to each other : Gobhai’s is an art of deep coloristic and textural saturation held in counterpoint by geometric precision.


REENA SAINI KALLAT

Hyphenated Lives | 2014-2015

In Hyphenated Lives, the suite of works from which the exhibition derives its title, Reena Kallat envisions fantastical mutations within the natural world. She invents new hybridized species of birds and animals, trees and flowers, which are otherwise fore-grounded as national symbols and proclaimed by nations as their own. In her works these get combined, symbolically unifying the nations they represent, as if we were taking a peek into an elapsed moment of unison in the past or from an imagined future when indeed they may re-unite. 
 

SHEZAD DAWOOD

Island | 2011 

Island the artist's textile painting, which incorporates fragmented photographic imagery.

This play on pattern, and the breakdown of the literal image plays upon the artist's interest in re-presenting the world through various prisms that begin to question the truth of 'things'. Playing on concepts of Maya or illusion, as well as the optics inherent in both sufi mysticism and western science, these works play aesthetically on the cusp between what is seen and what is unseen, and so as well as being highly beautiful works in their own right, also become part of a larger philosophical inquiry into perception.