The fascinating works by several female artists from the country deserve a special and separate mention. A few of them are as follows:
Reena Saini Kallat: She is known to be deeply influenced by the never-ending cycle of life and nature, as well as the extremely fragile nature of the human condition. With a wide range of painterly interests that encapsulates politics, femininity, and subtle evolutions in the human condition, her practice reflects the popular and iconic influences placed in context of the historical as well as contemporary narratives.
Anju Dodiya: The self is often at the center of her work that explores various possibilities within it. Her practice is rooted in the figurative. Deliberating in detail on her ‘sometimes whimsical play on the self- portrait’, an essay in The International Herald Tribune, has noted: “Originally a collage artist, she hoards faces, particularly those in states of extreme emotion. She also confesses to staring at faces on Mumbai's commuter trains, a boon for any artist in pursuit of extreme expression.”
Bharti Kher: Her practice revolves around pangs of dislocation and transience, involving an autobiographical examination of identity. The evocative, deeply personal, and layered images explore issues of tradition, identity and multiplicity. Her unique perspective and approach facilitates an outsider’s ethnographic observation of urban India - class and consumerist streaks - adding a new dimension to it. She is renowned for her usage of the ready-made bindi as a motif.
Rekha Rodwittiya: Her female protagonists are often elevated to iconic proportions. They can simultaneously occupy multiple avatars. The artist’s viewpoint is that female empowerment and its attendant baggage is rather a complex issue. A staunch feminist, she believes that in spite of the gender inequality, a multitude of voices still express the desire to dispel the stereotype of gender bias, and look to accommodate the complex changes we know to be real. She describes herself as a colorist for whom it’s not an element she needs to struggle with.
Reena Saini Kallat: She is known to be deeply influenced by the never-ending cycle of life and nature, as well as the extremely fragile nature of the human condition. With a wide range of painterly interests that encapsulates politics, femininity, and subtle evolutions in the human condition, her practice reflects the popular and iconic influences placed in context of the historical as well as contemporary narratives.
Anju Dodiya: The self is often at the center of her work that explores various possibilities within it. Her practice is rooted in the figurative. Deliberating in detail on her ‘sometimes whimsical play on the self- portrait’, an essay in The International Herald Tribune, has noted: “Originally a collage artist, she hoards faces, particularly those in states of extreme emotion. She also confesses to staring at faces on Mumbai's commuter trains, a boon for any artist in pursuit of extreme expression.”
Bharti Kher: Her practice revolves around pangs of dislocation and transience, involving an autobiographical examination of identity. The evocative, deeply personal, and layered images explore issues of tradition, identity and multiplicity. Her unique perspective and approach facilitates an outsider’s ethnographic observation of urban India - class and consumerist streaks - adding a new dimension to it. She is renowned for her usage of the ready-made bindi as a motif.
Rekha Rodwittiya: Her female protagonists are often elevated to iconic proportions. They can simultaneously occupy multiple avatars. The artist’s viewpoint is that female empowerment and its attendant baggage is rather a complex issue. A staunch feminist, she believes that in spite of the gender inequality, a multitude of voices still express the desire to dispel the stereotype of gender bias, and look to accommodate the complex changes we know to be real. She describes herself as a colorist for whom it’s not an element she needs to struggle with.
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