Confluence of art
B. PADMA REDDYB.Padma Reddy.
An art camp at Kalakriti and a display of works by four young artists at Alankritha came as a treat for art lovers in the city.
As part of the recent Krishnakriti Art and Cultural Festival, An artists' camp was held, which featured a couple of artists from abroad and a congregation of artists from across the country.
This is a much-anticipated event by art lovers and buyers who look forward to artists invited and to the works that are auctioned.
The camp was also of interest to the young generation of artists and art school students for the exposure and interaction it offered with some of the well-known artists of the country.
While 30 different artists have participated so far in the camps that were conducted earlier, 19 new artists; Aditya Basak, Ashok Mullick, Avijit Dutta, Dipak Banerjee, Muralidharan, Manoj Dutta, Prashanta Sahu and Suhas Roy from Kolkota, Manu Parekh from Delhi, Laxma Goud, Shyam Sunder, Alex Mathew from Hyderabad, Vidya Kamat and Vinita Gupta from Mumbai, Theodore Mesquita from Goa, Vinod Daroz from Vadodara, Hari Prasad from Visakapatnam and Aurele Mechler and Giancarlo Lepore from overseas were invited this time.
Though seniors Manu Parekh and Suhas Roy could not make it to the camp, the five-day period generated enough interest and enthusiasm amongst the young artists of the city.
An interesting and benevolent aspect was the operative space provided for several students and youngsters (mainly beneficiaries of the Krishnakriti foundation.)
With a good number of artists from Bengal, the figurative oeuvre of the Bengal school seemed inevitable. The chiaroscuro treatment of Avijit Dutta and Aditya Basak, on canvas and paper respectively, seemed to draw a good deal of attention from the viewers. Alex Mathew's coloured wood relief - a bilateral identification with sculpture and painting, evoked deep significance to the subject and material.
Alankritha art gallery showed the latest works of four young artists recently which, though formed a miniscule of work by each one, seemed to be an interesting announcement of shifts - in the artists thought process, the application of their thoughts, and the procedure of work and if not a total alteration in ideology, they revealed some visible variations.
The only established artist among the four, L.N.V. Srinivas exhibited his previous engagement with the abstract, the Zen and his impulsiveness that emerges as a spontaneous ratification of his thoughts. Yet the frenzy of the previous works is subdued into the making of landscapes satiated with calm energy. G. Mallesham and Ch. Manohar, the two contemporaries so far working in two different modes, capitulate to the thrust of photo-realism, which has taken the contemporary art scene by storm.
COLOUR RIOT Paintings that were on display at the art exhbition at Alankritha .
Manohar substantiates his canvas with his prior metaphysical concerns and the new tempting realism, creating a contrast with delicate roses and an array of iron pipes in one context, whereas Mallesham's free floating images in ambiguity and masses of subtle colour are exchanged with a couple of aggressive neo realistic self portraits and a dash of surrealism - comparatively very dynamic and aggressive in relation to the earlier series of works.
A relatively new entrant and a self-taught painter, Avani Rao explores the fertility terrains of the feminine in relation to the physicality of the nature in which she is present. Her exploration with textures, and spontaneous diligence with colours contributes to the thematic subsistence.
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