Can You See What I See? The query doubles up because the title of an exhibition at Hyderabad’s Kalakriti Artwork Gallery. Work, sculptures and installations by 12 artists, curated by Supriya Lahoti Gandhi and Ruchi Sharma, nudge viewers to get proactive and interpret an paintings somewhat than be passive viewers.
Just a few artworks replicate the artists’ observations from their every day lives. Whereas the artists depict slice-of-life happenings, the works additionally present cues to look past the plain and seek for intangible tales.
For example, certainly one of Ajay Dhapa’s artworks, Navivasi (new perfume), displays multicultural co-existence. He makes use of a floral carpet as his canvas to painting childhood recollections of his hometown, Jamnagar. The Vadodara-based artist makes use of methods from Mughal and Pahadi miniature work for his imagery of a market, previous structure and distributors promoting their wares by the streetside. Beneath these vignettes is an image of communal concord.
From a distance, certainly one of Ajay Lakhera’s artworks appears like items of a jigsaw puzzle that should be rearranged. Fragmented photos, just a few hundred of them, are a reference to unstoppable recollections. It’s the artist’s approach of telling viewers that even small, insignificant occasions have a approach of shaping who we’re. A group of recollections is woven collectively to explain life because it unfolds.
Within the bigger context, Can You See What I See? is a set of artworks which have numerous narrative buildings. Artists use varieties, figures and patterns drawn from their observations of Nature, structure and folks to debate historical past and social interactions.
A sequence of work by Ganesh Das highlights environmental issues. He attracts consideration to the necessity for earth-friendly practices and lowering the exploitation of pure assets. The imagery of birds, animals and flora is a throwback to a time when individuals co-existed with Nature somewhat than attempting to dominate it.
Girjesh Kumar Singh’s installations are designed utilizing items from demolished constructions. He presents a sequence of doorways as a marker of the historical past of a spot. The brick crimson of the previous partitions narrates a narrative of migration and displacement.
Small companies and distributors take centre stage in Gulab Kapadiya’s round artworks by which distributors promote bamboo baskets, jute luggage, bangles, flowers and extra. The repetitive motifs of lotus buds and the watercolour washes render a classic impact to the work.
Kamal Pandya’s sculpture, which resembles a big stainless glass, when considered up shut, has a number of fashionable architectural designs — a set of homes in a neighbourhood, streets and marketplaces.
Neha Verma’s multi-layered set up The Layers encourages viewers to watch the topics from completely different angles. Layers of cloth and paper carvings that resemble a carpet, hung from the ceiling, act as home windows to the portraiture on the wall. Peer into the architectural patterns on the material impressed by Hyderabad and Lucknow to decipher the bigger picture. In Shatranj ke do Khiladi, the artist creates a picture that resembles a chessboard, with its squares celebrating indigenous crafts corresponding to chikankari embroidery and paper carvings; the chessboard-like imagery is flanked by patterns that resemble jaalis, vital within the structure of those cities.
The opposite artworks embrace Kapil Anant’s portraiture of a road meals vendor, an elephant and a mahout as a part of his Unbelievable India sequence and Nitasha Jaini’s sequence that touch upon company work tradition that includes women and men carrying laptops and navigating cities which can be a mixture of previous and new. Additionally showcased are choose artworks by Raka Panda, Sanjoy Patra and Srinivas Pulagam.
(Can You See What I See? is on view at Kalakriti artwork gallery, Banjara Hills, Hyderabad, until July 2)