The eight young and talented artists, whose work is on view the Mumbai-based Galerie Mirchandani + Steinruecke, identify with a realm of resurrection of ideas like identity, reassessment, revolution, and wide ranging exchange. What perhaps stands out in this new revival is the fact that while earlier eras filled with such introspection were largely informed and developed in a rather heavily textual medium, this age seems to be informed by the visual – metaphoric as well as figurative, an accompanying note by Rahul D’souza explains.
Among the artists on view, Abul Hisham makes use of the visual for manipulate characters he has seen and also experienced in his immediate social environ. Upon them he apparently heaps various inflections of both positive and negative humanity and their inevitabilities. He inlays obvious symbols of power with particular words, clothes and expressions, which traverses the medium of the realism of personal attachment to characters, putting them on pedestals of hyper-real farce, stripping them of their positions of power and humanity even while elevating them to the symbolism of his vibrant visual metaphors.
Reshma Nair, on the other hand, works in the captivating compositional style of still life drawing and painting. She provides a window to peep into her own personal world. Bottles and sinks may build a sense of ambiguity in an effort to identify the occupant of this world. Jars of paint stashed away in an open cabinet though, provide a missing link. We start registering the temporary world in which these objects exist. Her thin, sparse and skillful application of oil paint in pastel colors gives us a feel that they are almost on the verge of merging into the background.
Poorvesh Patel works on canvas and uses ‘paints’ in a sort of non-traditional process. The outcome is a heavily textured, multi-toned work that is made up of different materials (iron filings, copper, resin, sawdust etc). This adds texture and a chemical process (rusting) so as to impart color. The resultant visual symphony by its size and intensity seems to almost emit a very strong force of attraction toward viewers. The work in this exhibition by the artist represents the very earth we live on and live off.
Among the artists on view, Abul Hisham makes use of the visual for manipulate characters he has seen and also experienced in his immediate social environ. Upon them he apparently heaps various inflections of both positive and negative humanity and their inevitabilities. He inlays obvious symbols of power with particular words, clothes and expressions, which traverses the medium of the realism of personal attachment to characters, putting them on pedestals of hyper-real farce, stripping them of their positions of power and humanity even while elevating them to the symbolism of his vibrant visual metaphors.
Reshma Nair, on the other hand, works in the captivating compositional style of still life drawing and painting. She provides a window to peep into her own personal world. Bottles and sinks may build a sense of ambiguity in an effort to identify the occupant of this world. Jars of paint stashed away in an open cabinet though, provide a missing link. We start registering the temporary world in which these objects exist. Her thin, sparse and skillful application of oil paint in pastel colors gives us a feel that they are almost on the verge of merging into the background.
Poorvesh Patel works on canvas and uses ‘paints’ in a sort of non-traditional process. The outcome is a heavily textured, multi-toned work that is made up of different materials (iron filings, copper, resin, sawdust etc). This adds texture and a chemical process (rusting) so as to impart color. The resultant visual symphony by its size and intensity seems to almost emit a very strong force of attraction toward viewers. The work in this exhibition by the artist represents the very earth we live on and live off.
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