Art Ichol Journal

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‘FRAMED NARRATIVES’ NARAYAN SINHA january 2016 Working with found materials, NARAYAN SINHA extracts the essence of traditional and modernist technology, where evaluating local tradition and culture and placing this in a global perspective play a significant role. Elevating the indigenous or local - using junk automobile parts, metal drums etc. are an essential feature of his work. For this 35-year-old, self-taught sculptor, art is about celebrating beauty in the mundane. february ‘STRUCTURES’ Drawings by SOMNATH MAITY and sculptures by NANTU BIHARI DAS In taking what the physical eye sees, and tracing this to the subconscious, SOMNATH MAITY orchestrates a metamorphosis of concrete beauty into an abstract aesthetic. NANTU BEHARI DAS’ organic sculptures made of fibre glass, nails and screws, exude an air of irony, melancholia and anguish; vibrating as if imbued with some inner force. ‘THE WALLS WE LEFT’ PRASENJIT SENGUPTA march PRASENJIT SENGUPTA’S paintings of acrylic on canvas depict faces of indigent children and women against the back-drop of old plastered walls. They are sometimes embedded in them or framed by a deep doorway; doubled-up or crouched in the largish niche-like recesses. In monochromatic colour schemes, of blues, greys, pale greens and gloomy ambers, he creates an overall mood of pathos devoid of sentimentality. Painting with a meticulous approach to detail and technical aplomb, naïve in sentiment and simple in concept, his compositions have a powerful visual impact.
<strong>Art</strong> <strong>Ichol</strong> received the State Tourism Award, Madhya Pradesh, India for 2015
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Journal MMXIV Volume One
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Editor: Gopika Nath Editorial assis
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Contents Scavenger’s Trick Naraya
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Editor’s Note Art Ichol has been
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The Residency
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Arshiya Sethi art ichol at night ph
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Arshiya Sethi It has a chhatri and
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Arshiya Sethi stage at art ichol ph
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Sudeep Sen
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Sudeep Sen Under Maihar Night Sky D
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Sudeep Sen secret garden. The walls
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Sudeep Sen
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Sudeep Sen Indian Dessert Clumps of
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Shalini Jaikaria
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Shalini Jaikaria inspired by these
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photo credit: amitabha bhattacharya
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Renewal of Spirit the pond differen
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Renewal of Spirit Shalini Jaikaria
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Tree, Bandhavgarh National Park The
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The Photographer’s Brush Branch m
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The Photographer’s Brush Safari s
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The Photographer’s Brush Untitled
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The Story Teller Growing up in Raja
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The Story Teller I was intrigued. I
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The Story Teller When the Maihar ba
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Detour to Kutch There weren’t any
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Detour to Kutch demands I imposed o
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Detour to Kutch opportunity for int
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Detour to Kutch water’s edge (mai
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Chasing the Sunset As one of the ei
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Chasing the Sunset Post our appetiz
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Chasing the Sunset Seated in the SU
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Poetics of Passion I recall well th
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Poetics of Passion people would rep
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Poetics of Passion self as she brok
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The Furnace at Uchhehra The first t
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The Furnace at Uchhehra it made bet
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The Furnace at Uchhehra He promised
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The Furnace at Uchhehra the front-s
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The Furnace at Uchhehra that I visi
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The Hada at Uchhehra Again and agai
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Making of Ichol
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Ambica Beri photo credit: gopika na
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Ambica Beri photo courtesy: art ich
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Ambica Beri photo credit: amitabha
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Ambica Beri photo courtesy: art ich
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Ambica Beri photo credit: srimallya
Page 102 and 103: Suraj P. Subherwal (1930 - 2015) Zg
Page 104 and 105: Suraj P. Subherwal photo courtesy:
Page 106 and 107: Suraj P. Subherwal working in torch
Page 108 and 109: Suraj P. Subherwal photo credit: am
Page 110 and 111: Narayan Sinha photo credit: srimall
Page 112 and 113: Narayan Sinha photo courtesy: art i
Page 114 and 115: Narayan Sinha photo credit: srimall
Page 116 and 117: Narayan Sinha photo courtesy: art i
Page 118 and 119: Salamat Khan photo credit: sudharak
Page 120 and 121: Salamat Khan EH$ ~ma Eogm ^r hþAm
Page 122 and 123: Aditya Beri photo credit: sudeep se
Page 124 and 125: Aditya Beri Tiwari ji. Salamat and
Page 126 and 127: Anshuman Beri photo credit: bandeep
Page 129: The Album
Page 133: The Album
Page 137 and 138: The Ceramic Centre
Page 139 and 140: The Kiln Gods The idea of a Ceramic
Page 141 and 142: The Kiln Gods Aditi’s concept was
Page 143 and 144: The Kiln Gods Bhavan and a very abl
Page 145: The Kiln Gods On their return the w
Page 148 and 149: Gallery Sanskriti based in Kolkata
Page 150 and 151: july ‘THEN AND NOW’ Drawings on
Page 154: Ra o’s draw ings com mu nicate th
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