Vivan Sundaram | Terraoptics

on Wednesday 10 May, 2017

sepiaEYE, New Yorksolo sho ... Read More

Nilima Sheikh | Documenta 14

on Saturday 08 Apr, 2017

Each Night Put Kashmir in Your Dreams ... Read More

Sonia Khurana | Walkthrough | Fold/Unfold

on Saturday 18 Feb, 2017

The second walk-through of Sonia Khur ... Read More

Shilpa Gupta | Drawing in the Dark

on Saturday 11 Feb, 2017

Drawing in the Dar ... Read More


A recurrent theme in Aditi Singh's drawings is the anatomy of flowers. Drawing flowers for over a decade they still continue to enthral the artist, or as she puts it: "At a certain moment a form chooses you and won't leave you in peace." These flowers are not typically meant to decorate or beautify. They survive in extreme climate and their ephemeral character contradicts the tenacious nature of their existence. The organic and geometric structure and their skeletal fragility point to the invisible mysteries inherent in natural phenomena. 

The process of selecting the paper is an integral part of Aditi Singh's drawings. The paper acts both as space and skin. Skin that protects, bears the traces of living by witnessing the process of evolution and dissolution. The paper's texture and materiality create a symbiosis with the subtle colours and shapes of the floral forms, thus standing for the "metamorphosis of the One into the Other‟, a process that describes the gradual reduction of distance between the work and the self of the artist.

Anju Dodiya's work are a selection of pages from a 'diary' where she offers a concentrated act of mourning death. In many of her works Anju Dodiya narrates the tragic/heroic aspirations of death by displaying rigour and tension.  The suite of watercolours with their fine delineation of charcoal are exuberant in their rendition of what haunts the artist’s imagination.

Atul Dodiya addresses the complexity of various simultaneous happenings in history - of politics, art and culture, through playful interventions in his series of watercolours. They humorously address ideas of local cultural representation through a construction of mock museums. In the forefront stand figures drawn from Company School paintings, images drawn from Miniature paintings, to 'dodiyaesque' figures that stand frontally, almost proud to pose before the "monuments" they stand before.

New works included here are a process oriented engagement rather than the preconceived idea of results. This series is an extension of his earlier use of wood as his primary material. Here the idea of carpentry is palpable; their precise and mathematical base concurs with the artistic liberty to propose fictional forms. 

Desmond Lazaro charts twelve miniature houses, centred and floating like clouds, each inscribed with a fragment of a legend about the 'blue house'. Here is an intimate, barely decodable metaphor of what a blue house might be, what it wants and does to survive and give shelter. 

"For a long time I have wanted to make a shed - a small scale sculpture - a generic garden shed – a shape that would satisfy my fascination with ‘house and home’ a theme, which over the last few years I have considered in paintings - each time trying to unravel a meaning for both - as a symbol and a personal reference."

Dhruvi Acharya’s paintings are layered with graphic style deploying a narrative imagery in which she explores the complexities of motherhood, citizenship and artistry. She paints, through allegory, on the poetic as well as desperate moments in one’s emotional and intellectual quarrel. Solitary female figures act in a chaotic universe composed of varied objects, animals and empty speech bubbles that ironically point to the futility and fatality of human experience. Dhruvi Acharya’s paintings refer to drawings in her sketchbooks, which she treats as a daily journal. “Chronicling the changing landscapes of my emotions, and the various portraits of my experiences, these drawings are part of my stream of consciousness”.

During a fellowship in Melbourne, Gigi Scaria got acquainted with the landscape and geography of Victoria. He studied the way people moved from other parts of the world, digging and cultivating the land in the course of history. The gold rush and the import of trees and plants by the settlers lead to significant changes in the natural formations of the land. The alterations of the landscape, pleasing the vision of those who settled there, prove of a cultural logic that not always corresponds to the logic of nature. Gigi Scaria’s watercolour points to the ‘politics of the landscape’ that is intricately related to the culture, habits, and civic ideas of the people living there.

Jitish Kallat’s photographic installation ‘The Cry of the Gland’ continues his examination of the urban detail and repetition that began with the large room-scaled photo-piece of dented automobiles ‘365 Lives’ (2007). Approaching commuters randomly in the street, Kallat photographed the pockets of their shirts, often bulging or sagging under the weight of daily necessities - pens, cigarettes, keys, wallets, cellphones - resembling a tumour-like growth on the body. Kallat has described this act of stepping close and registering a picture of bodily protrusions laden with personal possessions as akin to capturing a short story.

Lavanya Manidraws upon the natural use of colour the way makers of  traditional Kalamkari textiles. Mani peeks into the past and reminds viewers of the hidden stories behind the cloth they wear and the power dynamics that cloth carries in it's threads. Historically, Kalamkari was traditionally a male art form, as was its trade with the West, however Mani has used the medium to explore the experience of womanhood through the renderings in the work.

Meera Devidayalin her works, "Crossing" 2012, addresses the idea of urban migration - where the city of her dwelling becomes the point of arrival and departure to thousands who throng and make their 'dreams'. These 'dreams' are a subject that preoccupy Meera's process and oeuvre. 

Mithu Sen's practice stems from a strong background in drawing. In addition to popular images that she turns into puns, many of the recurring motifs in these drawings (2013-2014) in her dreamlike works, such as teeth, birds, and spinal columns, have deeper psychoanalytic readings that tie into our subconscious thoughts about sexuality. 

From lofty cities and suspended homes to sleepers on the ground, here is an itinerary for a monk who chooses to lay himself down – a bodily need bound by a modest gesture. Harsha is no monk, and his figures are not necessarily humble. They are common people who take their rest  in these set of drawings titled, "wahan se idhar, idhar se udhar". They are not socially marked as homeless – just sleeping gently and in gratitude for a space in the world. 

Reena Saini Kallat’s Ruled Paper, (red, blue, white) is from her recent body of works, Porous Passages that advance poetic and provocative inquiries into ideas of unison and estrangement, on confluence and conflict. A recurring motif, as well as primary medium in the making of these works is the electrical cable.

In this suite of drawings titled Ruled Paper, (red, blue, white), wires appear as empty sheets of paper awaiting inscription, but as if they were placed under a magnifying glass they begin to reveal or unravel a rather unsettling form of the barbed wire.

Ritiesh Meshram's focus (with these works done in 2012 at The Gasworks Studio in London), has been the production of a series of concrete studies of items from his own studio, illustrating his fascination with the shape and design of objects used within our daily routines. Believing these objects to hold a kind of spectre of human lives, he uses their forms to trace human identity whilst exploring the ambiguous line of distinction between the natural and the artificial.The process of making itself is central to Meshram's practice, spontaneity, improvisation and accident all being an integral part of his working process; the act of play as the only means to by which to create.

Shakuntala Kulkarni, in a series of small-format photographs (2015), continues to explore her ongoing series of work: of bodies, armour and cages (2011-12). The body in need of protection resorts to armour: an outer skin that cannot easily be dented or pierced, or the skill to form an invisible shield around its exposed limbs. Kulkarni addresses herself to this paradox in her project, which unfolds across a number of practices including the interdisciplinary laboratory, drawing, photography, the research archive, sculpture, and performance.