Vividh 2016: Multiple Expressions of Indian Art

working boots and with a spade. His portrait of Maya with
her long hair seems pensive. Artist-scholar KG
Subramanyan's untitled woman looking upfront, eyes fixed
and surrounded by birds and beasts for companionship,
appears to come from another imagery world. Human
portraits be it petite and curvaceous female figure or strong
male form are also the playing fields in the work by Shanta
Samant. Spiritual iconic form Lord Ganesh, invoked for
auspicious beginnings, appears in a distinct incarnation in
yet another work authored by SG Vasudev as a woven silk
tapestry.
The ability to stay rooted and indigenous while also
absorbing and assimilating selective international practices,
is mirrored in Jamini Roy's figuration of the three pretty
maids or his Santhal carver. Noteworthy are the markings
and symbols in the borders around his puppet like figures in
flat colours. The work is clearly impacted by the folk arts and
Kalighat Patua (rural art form of West Bengal) repertoire of
his native place. In yet another strand appears AA Raiba's
narrative compositions titled Barahmasa (twelve
months/seasons of the year) in one case and untitled in
another. The fantasy-filled work draws its inspiration from
Pahari (art style practiced in and around the mountains in
Himachal) and Mughal miniature painting while younger
artist Bhairavi Modi's art, though in different renditions,
shares an interest in regional styles as reflected in her
depiction of scenes and stories as enacted by some of her
protagonists. Narratives surrounding people and life in
urban and rural India or those based on classical or folk
stories are at the center-stage in distinct work by
distinguished artists Bhupen Khakhar, NS Bendre and
Satish Gujral.
Minimalist ethereal impressionistic compositions and Zen
ambience comes to the fore in abstract and geometric
renditions by some of the featured artists. It includes work by
artists who were or have been based in the West, while
simultaneously keeping their links with the sub-continent
alive. A distinct ethnic touch within a glo-cal genre is
reflected in their abstraction that treads both the worlds.
Leading in this group is artist SH Raza who was based in
Paris until his last few years and renowned for his work
marked for its spiritual essence. Bindu (dot) and Prakriti
(nature) are at the center stage in his colourful compositions
encompassing circles, triangles, squares and half circles. A
dot within a rhythmic pattern of circles, triangles and
squares says it all, in Raza's oeuvre. His contemporary from
London, Balraj Khanna's amazing white circular painting,
features what reminds one of instruments, machine parts, or
space creatures in contrast. This resonance of an
otherworldly abstraction or neti-neti (neither this nor that)
ambience is echoed in his multi-coloured painting featuring
forms akin to toys, puppets and zebra like creatures. Also
included in the grouping is banker cum artist Nayan
Kisnadwala's work. His abstract paintings bordering on the
tantric feature blooms and Shaligram (lingam). Inspired by
colour therapy and numerology the works create a web of
spirals, lines and circles imbued with spiritual undertones.
Master artist Ram Kumar's peaceful landscape in subtle
colours entails markings suggestive of trees mountains
rivers and paths while J Swaminathan's landscape in a more
colourful and seductive composition features a series of
mountains with his trademark bird atop a mound and a
lonesome tree in the distance. A contrast of sorts appears in
brightly rendered landscapes by Nabibakhsh Mansoori that
engage the viewer in a guftgu (conversation) in one work
suggestive of mountains, rivers, horizon and fields while the
other reverberates with an impression of a mirage. Sridhar
Poluru evokes a different image of the landscape in a mix of
man animal and flora fauna while Paresh Maity's landscape
with water, boats and habitation appears in a poetic stance.
Popular culture with a touch of the cinematic and kitsch is
played up in work by artists Dileep Sharma, and Nayanaa
Kanodia, each shifting the focus to take in their current
experiences surrounded by Bollywood and Mumbai society.
The lady in a mini skirt and high heels appears with cropped
small figures dancing atop and around her, in scissors; while
in flying squad she adorns swimming costumes with high
heels, jewelry and cosmetics as a tiny aircraft appears in a