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Monday, 5 August 2013

Indian Art Gallery

INDIAN ART GALLERY BIOGRAPHY

Source Link (google.com.pk)

During his youth, Iranna studied in a Gurukul (a system of education where the student resides with the teacher) and lived in an ashram for almost seven years. This helped to form a strong connection to his cultural roots, which enters his work alongside his exploration of the antitheses of inherent dualities of the world. Iranna endeavors to translate an internal landscape onto tactile surfaces and aspects of Buddhist art influences are evident. Although he began painting oil on canvases, Iranna later developed his range of medium, embarking on his now primary use of tarpaulin.Through a silky, infra-red lens Santhosh creates emotional portraits in which the subject is, interestingly, part of the middle ground of the composition. Smoldering in reds and orange, the texture and color of their flesh evokes metal that glows orange as it’s heated. Tending towards imagery sourced from media coverage of terrorism and war, Santhosh provides us with provocative and challenging pieces. The inverse, monochromatic quality of the shadows and highlights allude to film negatives, suggesting an element of supervision and subjection by the media. Santosh is also an accomplished sculptor, using white fiber glass and scrolling neon messages to evoke the “banality of evil”—term coined by Hannah Arendt.Images presented through high contrast pearly filters are characteristic of Santosh’s work. In a series of paintings from the late 2000s, red-orange and light bulb yellow is puddled with waxy, minty green impressions; the air is ablaze and the message is feverish. In the foreground “X”s and crosses Reena Saini Kallat (b. 1973, Delhi, India) graduated from Sir J.J. School of Art, Mumbai in 1996 with a B.F.A. in painting. Her practice – spanning painting, photography, video, sculpture and installation, often incorporates multiple mediums into a single work. She frequently works with officially recorded or registered names of people, objects, and monuments that are lost or have disappeared without a trace, only to get listed as anonymous and forgotten statistics. One of the recurrent motifs in her work is the rubber stamp, used as an object and an imprint, signifying the bureaucratic apparatus, which both confirms and obscures identities.Her work has been widely exhibited across the world in venues such as Mori Art Museum, Tokyo; Kennedy Centre, Washington; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino in Sao Paulo; Goteborgs Konsthall, Sweden; Helsinki City Art Museum, Finland; National Taiwan Museum of Fine Arts; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Arken Museum in Denmark; Henie Onstad Kunstsenter, Oslo; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe in Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; IVAM Museum, Spain; Busan MOMA; Kulturhuset, Stockholm; Chicago Cultural Centre amongst many others while closer home she’s shown at the Dr. Bhaudaji Lad Museum and the NGMA, Mumbai. She lives and works in Mumbai.