A Balasubramaniam's work leads to exploration of boundaries between personal and cosmic dimensions, and between tradition and modernity. Formally it combines light and shadow. It’s both amorphous and contained, comprising metaphors, which allude to a belief in the cyclical nature of things.
Hailing from a small village in Tamil Nadu, he received his Bachelor’s degree (fine arts) from the Government College of Arts, Chennai (1995). In 1998, he joined EPW Edinburgh to study printmaking, after which he pursued his passion for the genre at Austria’s Universitat fur Angewandte Kunste in Wien (1998-99). Moving onto a wider canvas, his art seamlessly moves from rusty rural life to awe-inspiring international experiences – a juxtaposition that has let him absorb contemporaries trends even while staying true to his roots and imbibing traditional values. For example, several relief monoprint, comprising one made of alphabet soup, formed part of his first solo in New York.
From a purely Indian ethos and perspective, it seems as if he has managed to outgrow the confines of his context, and move beyond the rather strict formalism of the modernists. For instance, his work at a recent show in Kolkata ('Symbols and Metaphors', CIMA gallery) was a lucid, lyrical celebration, which clearly relished aesthetic imbalance, even while challenging our ways of viewing. Each physical work is akin to a journey that prompts us to retrace the artist’s steps. What you are ultimately left with is not just the physical boundaries of work, but your spontaneous reaction to it wherein the negative space within an excavation results in a corollary.
‘(IN)Between’, his critically acclaimed show of works on paper and sculptures, included of intriguing installations ‘Kaayam’ and ‘Shadow of a Shadow of a Shadow’. While both excavated the unseen and the invisible, the latter in particular revealed the presence of something elemental, and culminated a long process for him in imparting mass to the ephemeral and bringing to the fore the non visible. ‘Kaayam’, on the other hand, reflected on the absence of something very essential, to add to his oeuvre of attention-grabbing works cast from the artist’s body. It negotiated the thin layer of skin, setting apart one’s own being from everything else. The rigid walls yielded to confound and amuse the viewer in ‘In Sounds of Silence and Gravity’, whereas ‘Energy Field and Link’ seemingly tried to defy the rules of nature.
Saturday, April 9, 2011
Fathoming A Balasubramaniam's practice
Pros and cons of getting identified with a particular subject or style
Is that a section of buyers don’t really want and like their chosen artists to experiment too much? This is the issue that often draws contrasting responses. The Business Standard columnist Kishore Singh tries to tackle the subject in one of his recent columns.
Artists, as all of us know, tend to get closely identified with the subject matter that they paint, sculpt or install, he rightly points out, and barring a few exceptions, they mostly work in a certain identifiable content and style. He cites the example of artist Subodh Gupta, whose name invariably alludes to steel utensils. Then there are Shuvaprasanna’s crows, s H Raza’s bindus, FN Souza’s grotesque nudes and heads, Sunil Das’s snorting bulls and Thota Vaikuntam’s Telengana beauties.
In essence, each artist is associated with a certain image that the collectors find closer to their heart. The writer describes this phenomenon as ‘banking on familiarity’. Just to extend the argument, he gives more examples by stating Fawad Husain is known for his erotic satire put in domestic settings. Then there is MF Husain known for his legendary horses, or artist Jayasri Burman very much famous for her goddesses. On the other hand, you can separate Rameshwar Broota from his peculiar ode to the masculine torso. When you refer to Manjit Bawa, what strikes more than anything else is his popsicle colors and serene Sufi imagery.
The examples are literally countless. Bikash Bhattacharjee is popular for his surrealism, whereas established contemporary artist Bharti Kheris quite appreciated for her usage of bewildering bindis. Paresh Maity is identified with his haunting seascapes, and Rekha Rodwittiya fort those iconic female figures. When you think of Arpita Singh, her concern and affinity for the fragile feminine world holds you. The writer essentially argues that the association is too strong to be challenged.
Artists, as all of us know, tend to get closely identified with the subject matter that they paint, sculpt or install, he rightly points out, and barring a few exceptions, they mostly work in a certain identifiable content and style. He cites the example of artist Subodh Gupta, whose name invariably alludes to steel utensils. Then there are Shuvaprasanna’s crows, s H Raza’s bindus, FN Souza’s grotesque nudes and heads, Sunil Das’s snorting bulls and Thota Vaikuntam’s Telengana beauties.
In essence, each artist is associated with a certain image that the collectors find closer to their heart. The writer describes this phenomenon as ‘banking on familiarity’. Just to extend the argument, he gives more examples by stating Fawad Husain is known for his erotic satire put in domestic settings. Then there is MF Husain known for his legendary horses, or artist Jayasri Burman very much famous for her goddesses. On the other hand, you can separate Rameshwar Broota from his peculiar ode to the masculine torso. When you refer to Manjit Bawa, what strikes more than anything else is his popsicle colors and serene Sufi imagery.
The examples are literally countless. Bikash Bhattacharjee is popular for his surrealism, whereas established contemporary artist Bharti Kheris quite appreciated for her usage of bewildering bindis. Paresh Maity is identified with his haunting seascapes, and Rekha Rodwittiya fort those iconic female figures. When you think of Arpita Singh, her concern and affinity for the fragile feminine world holds you. The writer essentially argues that the association is too strong to be challenged.
Friday, April 8, 2011
The fear of the unknown in collecting
Can an artist fight the popular image and identity that makes him or her familiar and comfortable with the collectors? This is an important aspect of creativity that art expert Kishore Singh deals with in a recent essay.
Mostly, an artist won’t be allowed to stray too far away from his or her fidelity with a subject matter by two important elements – first, the gallerist, and then the buyer (who may be either a collector or an investor). The former tends to reflect popular demand and often will ask for works of art, which have previously gone well with buyers. To put it in practical terms, if it ain’t broken, why take a risk of tinkering with it! On the other hand, buyer can commission artists to create a work in their more identifiable mode.
There are a couple of reasons why a collector would want to opt for the familiar - that instant recognition for his or her work and name is similar to a social badge of honor, but the other, when that work is not recognized in spite of the premium paid for the signature, can get rather embarrassing. The art expert highlights the mindset by stating: “What’s the point of having paid so much of a premium if one has to explain the deviation in that artist’s style, and then be ticked off for having made the wrong choice?”
So is that really ‘wrong’ choice for an aspiring collector (who wishes to be acknowledged and appreciated for his quality ownership) also the wrong option for any investor? Familiarity with a theme or style might work better (Husain’s horses etc) in the short term. Buyers- whether they are investors or collectors - are put off by the fear of the unknown, and understandably prefer a tried and tested path that is more familiar and safer.
However, in the longer run, it’s the distinctiveness, and most importantly rarity or novelty that will impact prices positively. Hence, a Subodh Gupta work sans utensils may make the grade and turn into a talking point. The uniqueness of a work defined by its innovation ultimately becomes a distinguishing quality of it.
Mostly, an artist won’t be allowed to stray too far away from his or her fidelity with a subject matter by two important elements – first, the gallerist, and then the buyer (who may be either a collector or an investor). The former tends to reflect popular demand and often will ask for works of art, which have previously gone well with buyers. To put it in practical terms, if it ain’t broken, why take a risk of tinkering with it! On the other hand, buyer can commission artists to create a work in their more identifiable mode.
There are a couple of reasons why a collector would want to opt for the familiar - that instant recognition for his or her work and name is similar to a social badge of honor, but the other, when that work is not recognized in spite of the premium paid for the signature, can get rather embarrassing. The art expert highlights the mindset by stating: “What’s the point of having paid so much of a premium if one has to explain the deviation in that artist’s style, and then be ticked off for having made the wrong choice?”
So is that really ‘wrong’ choice for an aspiring collector (who wishes to be acknowledged and appreciated for his quality ownership) also the wrong option for any investor? Familiarity with a theme or style might work better (Husain’s horses etc) in the short term. Buyers- whether they are investors or collectors - are put off by the fear of the unknown, and understandably prefer a tried and tested path that is more familiar and safer.
However, in the longer run, it’s the distinctiveness, and most importantly rarity or novelty that will impact prices positively. Hence, a Subodh Gupta work sans utensils may make the grade and turn into a talking point. The uniqueness of a work defined by its innovation ultimately becomes a distinguishing quality of it.
What makes artists averse to experimentation?
The question to be asked is whether an intimate and almost inseparable identity with any particular subject matter can get detrimental to the interests and evolution of an artist - besides also perhaps being claustrophobic?
Taking a cue from this interesting point of view, Kishore Singh argues that artists are more than anything else meant to constantly re-invent themselves! However, when they become too strongly bound by an image or get identified with a particular series or style, they then end up coming back to that very subject or style, again and again!
He then goes on to add: “It’s true that artists often go, or even grow, beyond their initial string identities. However, their signature style again compels them to re-visit what tends to be their distinctive stamp: hence Krishen Khanna, who has painted a wide array of everyday subjects and characters, is extolled for hisfamous ‘ Bandwallah’ series, Atul Dodiya turns a chronicler of his city of Mumbai, and Thukral & Tagra, akin to travel agents, may often find themselves rooted in the peculiar universe of migrations.
Discussing pros and cons of getting identified with a particular subject or style, the art expert explains: ”This in part, might be a fascination with how something can be used to create multiple images, or to see how their own views might have changed — which is how Subodh Gupta constantly returns to his world of utensils, though, admittedly, with less success than before.
In this context, it is pertinent to note what Satish Gujral has stated.
According to the legendary artist, one’s style becomes one’s identity. However, it cannot and should not be stretched beyond a particular point. He reveals, “Novelty challenges the mind; it makes you think. One can discover new things every day, everywhere. The acceptance of one style only nudged me to find something I had not as yet experimented with, one that may refresh my excitement. Personal excitement is what I seek to get out of my creativity.”
Of course, this holds for most artists. Yet there may be certain compulsions that prevent them from doing so…
Taking a cue from this interesting point of view, Kishore Singh argues that artists are more than anything else meant to constantly re-invent themselves! However, when they become too strongly bound by an image or get identified with a particular series or style, they then end up coming back to that very subject or style, again and again!
He then goes on to add: “It’s true that artists often go, or even grow, beyond their initial string identities. However, their signature style again compels them to re-visit what tends to be their distinctive stamp: hence Krishen Khanna, who has painted a wide array of everyday subjects and characters, is extolled for hisfamous ‘ Bandwallah’ series, Atul Dodiya turns a chronicler of his city of Mumbai, and Thukral & Tagra, akin to travel agents, may often find themselves rooted in the peculiar universe of migrations.
Discussing pros and cons of getting identified with a particular subject or style, the art expert explains: ”This in part, might be a fascination with how something can be used to create multiple images, or to see how their own views might have changed — which is how Subodh Gupta constantly returns to his world of utensils, though, admittedly, with less success than before.
In this context, it is pertinent to note what Satish Gujral has stated.
According to the legendary artist, one’s style becomes one’s identity. However, it cannot and should not be stretched beyond a particular point. He reveals, “Novelty challenges the mind; it makes you think. One can discover new things every day, everywhere. The acceptance of one style only nudged me to find something I had not as yet experimented with, one that may refresh my excitement. Personal excitement is what I seek to get out of my creativity.”
Of course, this holds for most artists. Yet there may be certain compulsions that prevent them from doing so…
Thursday, April 7, 2011
Sotheby’s contemporary Chinese art auction creates new records
A triptych oil painting by a popular Chinese artist fetched a whopping $10.1 million in a Sotheby's auction in Hong Kong, a record price for a contemporary work from China.
A total sale worth a $54.8 million of contemporary Chinese art was marked by a packed auction room with ferocious bidding for over 100 artworks. They belonged to the collection Belgium’s collector Baron Guy Ullens, acquired by him over several decades.
The star lot of the auction was Zhang Xiaogang's 1988 work, entitled ‘Forever Lasting Love’. It depicts half naked figures in an arid landscape filled with mystical symbols. It went for HK$79 million, over double its pre-sale high estimate. The sales price was higher than that paid for a canvas by Zeng Fanzhi (2008) of $9.5 million and a series of huge gunpowder works done by Cai Guoqiang, which fetched a similar price tag in 2007.
The Sotheby’s auction almost tripled the pre-sale estimate. Importantly, all works were sold. Sotheby's Asia chief executive Kevin Ching was quoted as saying: "This (sale) represents the whole spectrum of contemporary Chinese art. And I think everyone would feel proud to be able to possess a piece of that history, process and a part of that special vision."
Zeng, Cai and Zhang are considered among a vanguard of contemporary artists from China whose subversive early works were enthusiastically embraced by Western critics and collectors, driving a frenzy in the market prior to 2008. Experts stated the latest results were partly owing to Baron Guy Ullens's position as a Chinese art visionary. Ullens and his wife Myriam set up the Ullens Center for Contemporary Art in Beijing for promoting Chinese avant-garde art globally.
The successful sale could definitely provide a symbolic and sentimental boost for the market. A collector, who attended the sale, mentioned this successful event as part of a recovery process, informing ‘the prices were too high’. New individual records were also achieved at the auction for Zhang Peili and Geng Jianyi for their works.
A total sale worth a $54.8 million of contemporary Chinese art was marked by a packed auction room with ferocious bidding for over 100 artworks. They belonged to the collection Belgium’s collector Baron Guy Ullens, acquired by him over several decades.
The star lot of the auction was Zhang Xiaogang's 1988 work, entitled ‘Forever Lasting Love’. It depicts half naked figures in an arid landscape filled with mystical symbols. It went for HK$79 million, over double its pre-sale high estimate. The sales price was higher than that paid for a canvas by Zeng Fanzhi (2008) of $9.5 million and a series of huge gunpowder works done by Cai Guoqiang, which fetched a similar price tag in 2007.
The Sotheby’s auction almost tripled the pre-sale estimate. Importantly, all works were sold. Sotheby's Asia chief executive Kevin Ching was quoted as saying: "This (sale) represents the whole spectrum of contemporary Chinese art. And I think everyone would feel proud to be able to possess a piece of that history, process and a part of that special vision."
Zeng, Cai and Zhang are considered among a vanguard of contemporary artists from China whose subversive early works were enthusiastically embraced by Western critics and collectors, driving a frenzy in the market prior to 2008. Experts stated the latest results were partly owing to Baron Guy Ullens's position as a Chinese art visionary. Ullens and his wife Myriam set up the Ullens Center for Contemporary Art in Beijing for promoting Chinese avant-garde art globally.
The successful sale could definitely provide a symbolic and sentimental boost for the market. A collector, who attended the sale, mentioned this successful event as part of a recovery process, informing ‘the prices were too high’. New individual records were also achieved at the auction for Zhang Peili and Geng Jianyi for their works.
Politician-painter Mamata Banerjee’s new series of works
Here is a politician who has hit upon an artistic intent to raise funds. Trinamool Congress head Mamata Banerjee canvases are up for grabs.
A large majority of her new series of works – priced in the range of Rs 2 lakh – have found many willing buyers, raising her status as an artist. ‘Banglar ma’, which depicts the mother figure, is the costliest work at Rs 12 lakh. Introducing her, artist Shuvaprasanna asserted that never before had a politician as tied up as Mamata Banerjee came up with such a large body of work. The idea is to raise funds for her party’s poll campaign.
The exhibition, entitled ‘25 Hours A Day’, takes place at Gallerie 88, Kolkata. The 98 paintings on view are her ode to joy. They not once show the tense political situation in the state. Instead of form, not perhaps her forte, she here opts o expresses herself through an exuberant palette. ‘Mamataa’ has spread a riot of colors to create these paintings. These are hyperactive Catherine wheels in yellows, pinks, blues and greens that she has painted.
Fields full of kaash phul or kans grass come alive on the canvases. In some paintings, pearly greys are effortlessly contrasted with purples and greens. Trees in vivid viridian sprout, umbrella fashion. She makes her mark as a natural, uninhibited painter with assured brushstrokes. She has passion and dreams that have been depicted in her creations.
Though she is not formally trained, the politician-painter has a natural instinct and flair for art. Her usage of color points to her aesthetic sensibility. There is an unmistakable sense of harmony in her new paintings. In an earlier exhibit, a dominant motif was the goddess Kali. This time the female form has turned softer and tender.
As if to distinguish her political persona from her creative self, the firebrand West Bengal politician signs her paintings as ‘Mamataa’ with an extra ‘a’. She has reasoned: “Just like my works, my signature also is guided by instinct.”
A large majority of her new series of works – priced in the range of Rs 2 lakh – have found many willing buyers, raising her status as an artist. ‘Banglar ma’, which depicts the mother figure, is the costliest work at Rs 12 lakh. Introducing her, artist Shuvaprasanna asserted that never before had a politician as tied up as Mamata Banerjee came up with such a large body of work. The idea is to raise funds for her party’s poll campaign.
The exhibition, entitled ‘25 Hours A Day’, takes place at Gallerie 88, Kolkata. The 98 paintings on view are her ode to joy. They not once show the tense political situation in the state. Instead of form, not perhaps her forte, she here opts o expresses herself through an exuberant palette. ‘Mamataa’ has spread a riot of colors to create these paintings. These are hyperactive Catherine wheels in yellows, pinks, blues and greens that she has painted.
Fields full of kaash phul or kans grass come alive on the canvases. In some paintings, pearly greys are effortlessly contrasted with purples and greens. Trees in vivid viridian sprout, umbrella fashion. She makes her mark as a natural, uninhibited painter with assured brushstrokes. She has passion and dreams that have been depicted in her creations.
Though she is not formally trained, the politician-painter has a natural instinct and flair for art. Her usage of color points to her aesthetic sensibility. There is an unmistakable sense of harmony in her new paintings. In an earlier exhibit, a dominant motif was the goddess Kali. This time the female form has turned softer and tender.
As if to distinguish her political persona from her creative self, the firebrand West Bengal politician signs her paintings as ‘Mamataa’ with an extra ‘a’. She has reasoned: “Just like my works, my signature also is guided by instinct.”
Wednesday, April 6, 2011
‘Ascending Energies’ at Lalit Kala Akademi, Delhi
A 9ft high sculpture of fibre-reinforced polymer, of a person astride a spinning wheel, flaunting metal rings that bear his hands down; installations of polymer and metal, are among the works that comprise his new solo show, entitled ‘Ascending Energies’ at Lalit Kala Akademi, New Delhi.
Satish Gujral spent the whole last year monitoring workers who molded the new sculptures, bearing a stamp of his imagination.
Incidentally, Satish Gujral’s most recent suite of paintings, drawings and sculptures, entitled ‘Tryst with Modernity and Tradition’ on view at Jehangir Art Gallery and later at Cymroza Art Gallery in Mumbai was a peep into the interplay of tradition and modernity. It amazes the veteran artist how the people have taken to modern way of living, even without forsaking their religious beliefs and traditions. Indeed, age and subject are not a hindrance to his artistic sojourn. The crux of his creative energy and philosophy lies in his spirit to constantly innovate.
In different periods of his life, varying concerns have driven him. During the post-independence phase, he depicted the human tragedy inflicted on either side of the borders. The pathos attached with the cataclysmic chain of events was reflected in his work when he first started painting. He studied art at the Mayo College in Lahore (1939-44) and Sir J.J. School of Art, Mumbai (1944-47). A chanced meeting with Octavio Paz changed the course of his career, leading to his selection for a scholarship to Mexico in 1952.
Keen to work on new ideas and tread an unusual path, the zestful octogenarian still relishes experimenting with different mediums and diverse themes. His fourth solo in the last five years or so, collates his recurrent themes, comprising the confluence of varied human, animal and mechanical forms. The sculptures in bronze and polymer - some with a steely, blue finish or tinge of brown, feature men entwined with machines and animals to denote mutual enslavement. He explains, “The association between technology and man interests me. The relationship that they share is fascinating.”
Satish Gujral spent the whole last year monitoring workers who molded the new sculptures, bearing a stamp of his imagination.
Incidentally, Satish Gujral’s most recent suite of paintings, drawings and sculptures, entitled ‘Tryst with Modernity and Tradition’ on view at Jehangir Art Gallery and later at Cymroza Art Gallery in Mumbai was a peep into the interplay of tradition and modernity. It amazes the veteran artist how the people have taken to modern way of living, even without forsaking their religious beliefs and traditions. Indeed, age and subject are not a hindrance to his artistic sojourn. The crux of his creative energy and philosophy lies in his spirit to constantly innovate.
In different periods of his life, varying concerns have driven him. During the post-independence phase, he depicted the human tragedy inflicted on either side of the borders. The pathos attached with the cataclysmic chain of events was reflected in his work when he first started painting. He studied art at the Mayo College in Lahore (1939-44) and Sir J.J. School of Art, Mumbai (1944-47). A chanced meeting with Octavio Paz changed the course of his career, leading to his selection for a scholarship to Mexico in 1952.
Keen to work on new ideas and tread an unusual path, the zestful octogenarian still relishes experimenting with different mediums and diverse themes. His fourth solo in the last five years or so, collates his recurrent themes, comprising the confluence of varied human, animal and mechanical forms. The sculptures in bronze and polymer - some with a steely, blue finish or tinge of brown, feature men entwined with machines and animals to denote mutual enslavement. He explains, “The association between technology and man interests me. The relationship that they share is fascinating.”
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