Chila Kumari Burman

Since the mid-1980s I have been exploring the experiences and aesthetics of Asian femininity in paintings and installations, photography and printmaking, video and film. In my more recent works, this theme has taken on a new power and vibrancy. I am currently making a new body of work to draw all of these together and to develop the ideas and images contained in the new cultural contexts of national and international politics in the twenty-first century.
Challenging stereotypical assumptions of Asian women, my work is informed by popular culture, Bollywood, fashion, found objects, the politics of femininity the celebration of feminity; self-portraiture exploring the production of my own sexuality and dynamism; the relationship between popular culture and high art; gender and identity politics.

(The artist)

Arnab Mukherjee

Vibha Galhotra

Born in 1978, Vibha Galhotra received her Bachelor’s degree in Graphics from the Government College of Arts, Chandigarh, in 1999, and her Master’s degree in the same from Kala Bhavan, Santiniketan, in 2001. The artist works with a variety of media, ranging from print-making to painting, animation videos and site-specific installations. As she explains, “The medium isn’t important to me. It’s about conveying the message”. Galhotra’s work frequently addresses issues of urbanization, exploring the various relationships between city and citizen. Often, the human figure seamlessly blends into wider cityscapes, almost as if the city was an engulfing protagonist. 

Vibha Galhotra has exhibited her work in several solo shows, including most recently ‘Where Do We Come From? What Are We? Where Are We Going?’ at Anant Art Gallery, New Delhi, in 2006; ‘Between Me and Delhi’ at Anant Art Gallery, New Delhi, in 2005; ‘White’ at the Faculty of Fine Arts, M.S. University, Baroda, in 2004; and ‘Space Within the Space’ at Max Mueller Bhavan, New Delhi, in 2002. Her works have been featured in several group shows, including ‘Everywhere Is War (and rumors of war)’ at Bodhi Art, Mumbai, in 2008; ‘Destination Asia: Flying over Stereotypes’ at Elementa, Dubai, in 2008; ‘Walk The Line’ at Avanthy Contemporary, Zurich, in 2008; and ‘Rethinking Materiality’ at Gallery Espace, New Delhi, in 2007-08. 

Galhotra was awarded the Inlaks Foundation Fine Arts Award in 2003 and a National Scholarship from the Ministry of Culture, Government of India, in 2001. She has also served as a visiting member of the faculty at the National Institute Fashion Technology, New Delhi, and has been conducted several workshops all over the world. 

The artist lives and works in New Delhi.

(Profile from Saffronart)

Balan Nambiar

N Pushpamala interviews artist Balan Nambiar in Bangalore.
balan Nambiar [Balan Nambiar, [born 1937, Kannapuram, Kerala] studied sculpture in the Madras College of Arts and Crafts, Chennai. In 1971 he moved to Bangalore and has been working in the city as an independent artist. Balan Nambiar has intensively researched and documented the ritual art forms of Kerala and Tulunadu in Karnataka, for which he received the Nehru Fellowship.]

PN:  Balan, your recent work 'Valampiri Shankha' is a stainless steel image of a conch shell. What connection does the shankha, which is an archaic Hindu religious symbol, have with the state-of-the-art technology produced by Texas Instruments who commissioned the work?

BN:  You know the first conch sculpture I made was in 1978 in the Portland Cement Factory in Heidelberg in Germany, where someone pointed out to me that it was based on the golden section. The golden section or the golden mean has a proportion of width to height of 1:1.618, which is supposed to be the perfect proportion, and has been used extensively by Greek and Renaissance artists and architects.

While most conches have an anti - clockwise spiral, the Valampiri Shankha [which means 'right turning' in Malayalam] has a clockwise spiral and is considered auspicious and rare. I heard a story that a German collector offered 50,000 DM for one! A properly grown clockwise conch when blown produces a sound, which is closest to the 'OM' sound.
The sculpture is the logo of the Centre of Digital Technology, a laboratory sponsored by Texas Instruments who are the pioneers in introducing digital sound processing [DSP] to India. I was thinking of the inherent mathematical effect of the sound of 'Om' produced by the Valampiri Shankha in terms of digital power. I wanted to make it in stainless steel, using the most sophisticated processes like computer and laser technology. The software AUTOCAD was used to design the sections.

PN:   Visually, the sculpture has a light, shimmering, glassy quality- almost like a mirage ...Balan, you have used ritual symbols and stories from myths in your work but some motifs like the flame, rice plant, cactus and bird you say are autobiographical. Tell me about your life.

BN:   I come from a land owning family from Kannoor District in Kerala- but members of the family also worked in the fields- I used to plough the fields, plant rice and grow vegetables when I was a boy. There used to be Theyyam performances in my village and I used to watch the make up- they make elaborate ritual costumes from tender coconut leaves ...In high school I was very good in both mathematics and drawing. So after high school I did the Madras Govt. Drawing Examination, got a job in the railways as a draughtsman and moved to Chennai in 1959.
I was painting all the time and sending my work to exhibitions. Fellow artist Akkitham Narayanan introduced me to KCS Paniker in '62. As the principal of the Madras Art School, Paniker took a personal interest in my work. He gave me the courage to give up my Railways job and I joined the art school as a student at the age of 30!

PN:   When you came to Bangalore in 1971 you must have been the only contemporary sculptor working in Karnataka. What was it like?

BN:   I am like the cactus plant, which survives in the most uncongenial place! When I moved to Bangalore in the 70s, there was no proper art institute or gallery. The only other freelance artist besides me was the painter Roomale Chennabasaviah. I formed the Bangalore Art Club as soon as I moved here, where I ran evening classes for adults and children's classes at the Max Mueller Bhavan. The Brothers of the Holy Cross had given me their big hall on St. Mark's Road to use- I organized film shows, seminars, poetry readings, dance performances. I lived in an outhouse in the compound and did painting and drawing.
In '73, Shankar Hegde of Hegde and Golay Watches asked me to do a sculpture for them. I made an 8 ft. high welded steel sculpture symbolising time in front of his factory- he was very pleased with the work and offered me a shed and facilities to work. It was a lucky break! Most factories are not keen on artists using their space because they feel it is not profitable. In 1975 I had my first big exhibition of large welded steel sculptures on the lawns of the Hotel Ashoka [there was still no gallery!].

PN:   Your outdoor sculptures 'Monument to the Assassinated' and 'Resurrection of Janaki' which you made in the Art and Nature Workshop in Delhi in 1995 have an unusually sharp political content. Can you talk about that?

BN:  For a long time I have been disturbed by some of the characters in the Puranas. One incident from the Ramayana is the death of Bali. Sugriva is the younger half brother of the forest king Bali, who wants the kingdom of Kishkinda. He makes a treaty with Rama to eliminate Bali in return for his help in searching for Sita. I consider this the first recorded illegal treaty in the history of India! Rama hides behind a tree and kills Bali. In Northern Kerala where I come from there are hundreds of shrines for Bali who is worshipped by the artisan community- blacksmiths, goldsmiths, and carpenters. In Kerala, in the Koodiyattam and Kathakali performances, the most experienced actor always plays the role of Bali, while Rama's role is always given to a junior artist.
There are several versions of the Ramayana- in the Malayalam version; Rama was hiding behind seven sal trees. In 'Monument to the Assassinated', I used seven 2.5 metre high slabs of kota stone placed in a row- a groove was cut at the chest level of all the stones to show the path of the arrow shot from the bow of Rama. Rama was depicted by two footmarks carved on a slab of kota- and at the other end; a split boulder on a raised platform depicts Bali.
Janaki is another name for Sita - the one who was born out of the ploughing of the earth. After her marriage she goes through every kind of suffering and at the end she disappears back into the earth. She is the daughter of the earth.
In the work 'Resurrection of Janaki' I made a 10 metre long slit in the earth, which was surrounded by a line of boulders in an oval shape to suggest the womb of the earth. A big tree in the location was part of the work. Seven stones were placed on seven slabs at the head of the slit representing the Sapta Matrikas or Seven Mother Goddesses. They are like the only witnesses for a possible resurrection...

(Saffronart)

Prajakta Potnis

Although she is inspired by everyday objects and landscapes, Prajakta Potnis’ real interest lies in interpreting dreams. In a world where a great deal of attention and time is focused on realizing or fulfilling one’s dreams, Potnis attempts to reverse the process and understand people’s realities through their dreams. Her unique ability to rediscover, rather than merely document reality through her body of work, allows the artist to create a new world, much like ‘a fairytale suspended in reality’, exposing the fragility of desire and the impractical romanticism of dreams.

Potnis has painted houses, scooters and cars, all objects of desire, covered in corrugated sheets or packaging material. These material objects, usually identified with position and status, when cloaked by the artist reveal that the significance of the objects within are largely based on appearances, and that the dreams to possess them are dangerously fragile. Through her work, Potnis unsympathetically makes her viewers aware of their false sense of security and superficial desires and measures of success.

Prajakta Potnis was born in Thane and completed her Bachelor’s and Master’s degrees in Fine Art from the Sir J.J. School of Art in Mumbai.

She has participated in several group shows, the more recent ones being ‘Some Blind Alleys’ at Anant Art Gallery, New Delhi, in 2007; ‘Soft Spoken’ at the Bombay Art Gallery, Mumbai, in 2007; ‘Reading Paint’ at Gallery Soulflower, Bangkok, in 2007; ‘III/III - Here and Now: Young Voices from India’ at Grosvenor Vadehra, London, in 2007; and ‘Myrrh’, Tao Art Gallery, Mumbai, in 2006. The artist’s first solo show was ‘Walls-in-Between’, held at Kitab Mahal by the Guild Art Gallery, Mumbai, in 2006. In 2003-04, Potnis received the Inlaks Fine Arts Award, and in 2001-03, she was awarded a Young Artist Scholarship by the Department of Culture of the Government of India.

Prajakta Potnis lives and works in Mumbai.

(Profile by Saffronart)

Dilip Kumar Samanta

Raju Patel

Vanita Gupta

While referring to her work, artist Vanita Gupta says, “I believe in the ardent need to paint, nothing more nothing less.” This single statement explains how, although minimal, Gupta’s work is always complete. The dynamics of her images, however, are constantly evolving; she experiments with size and texture but the solid white background on which her paintings are mounted remains constant.

Gupta’s monochromatic compositions, rendered almost fluidly with her masterly brushwork, leave the viewer captivated by their Zen-like quality. Since her first solo show in 1994, Gupta has worked assiduously towards mastering the multiple techniques by which paint may be applied onto a surface. In her more recent works, the viewer can instantly recognize her command over mark making techniques and the effortless way in which she now maneuvers between speed and patience, discovery and concealment. Her brushstrokes, varying from a drip to a splash or draggle, suggest a deep intimacy between solidity and the ambiguous nature of liquids.

Vanita Gupta was born in 1971. She studied Fine Arts at L.S. Raheja School of Art, Mumbai, from where she graduated in 1992. She has had a number of solo shows and has participated in select group exhibitions, the more recent being those held at the Gallery in Redchurch Street, London, in 2007; Pundole Art Gallery, Mumbai, in 2006 and 2004; Gallery Threshold, New Delhi, in 2006, 2005, 2004 and 2002; the National Gallery of Modern Art, Mumbai, in 2004; and Jehangir Art Gallery, Mumbai, in 2002, 1998 and 1994. The artist has also exhibited at ArtSingapore fair in 2006.

(Profile by Saffronart)

Sanjeev Sompimpri

Manjunath Kamath

Manjunath Kamath tells stories with his images. His narratives, however, are altered and adjusted constantly, adapting fluidly according to the environment they are narrated in, and resulting in a different meaning each time a story is told. As a visual artist, Kamath feels impelled to regularly reinvent his method of storytelling. By relentlessly working on his articulation and modernizing his techniques, the artist continuously updates his visual vocabulary.

The artist’s need to draw and hold his viewers’ attention is palpable in his varied use of painting, drawing, sculpture and video. With the help of these disparate genres he creates narratives that are gripping in content, even though they are composed of simple, commonplace elements. Thus Kamath’s forte ultimately lies in creating fantasies out of the ordinary.

Kamath usually begins a painting with just one element; this could be drawn from memories of past experiences or the reality of present contexts. He then keeps adding and taking away from the imagery, paying particular attention to structuring throughout this process, and ultimately arrives at a composition that he deems suitable to be the vehicle of his narrative. To Kamath, then, the process of construction is more important than his completed work.

Born in 1972 in Mangalore, Manjunath Kamath obtained his Bachelor’s degree in sculpture from Chamarajendra Academy of Visual Arts, Mysore, in 1994. He was also an artist-in-residence at the School of Art and Design of the University of Wales, Cardiff, in 2002. Kamath’s works have been featured in a number of solo exhibitions, the most recent ones including ‘108 Small Sories’ and ‘Something Happened’ at Gallery Espace, New Delhi, in 2007 and 2006 respectively; and ‘About Something’ at Sridharani Art Gallery, New Delhi, in 1996.

Kamath lives and works in Delhi.

(Profile by Saffronart)

Laxma Goud

Born in 1940 in Nizampur, Andhra Pradesh, K. Laxma Goud completed his diploma in Drawing and Painting from the Government School of Art and Architecture, Hyderabad, in 1963; he then went on to study Mural Painting and Printmaking at the Faculty of Fine Arts at M.S. University, Baroda, from 1963 to 1965. Goud displays versatility over a range of mediums, from printmaking, drawing, watercolour, gouache and pastels to glass painting and sculpture in bronze and terracotta. Over the many years of his artistic career, he is known to have moved from one medium to another with élan. Fellow artist T. Vaikuntam, in one of his interviews, reminisces that it was Laxma Goud who introduced him to the art of sketching and made him aware of the possibilities of this medium.

When one looks at Goud’s work, rustic, raw, and potent might be the first words that come to mind. His portraits of men and women represent the dynamic Indian ethos rather than particular individual identities. A recurrent theme with the artist is that of the erotic, treated as an active and powerful aspect of male and female sexuality and existence. Goud’s work is dramatic; his protagonists are raw and vivacious in their appeal, imbibed with energy that reverberates through his strokes and textures. Most of Goud’s art is centered on the rural, recreating landscapes from his childhood as if they were frozen in time. In the artist’s later work, his figures turn softer, more introspective than brash in their outlook.

Recently, the artist has worked on a series of lush landscapes in vivid colors reminiscent of his youth spent in rural Andhra Pradesh. Like most of the artist’s work, these are generally executed in a miniature format, in what is perhaps an attempt to create an intimate atmosphere in which the viewer can engage directly with his creations.

In 2007, the exhibition, ‘Laxma Goud 40 Years: A Retrospective’ was organized by Aicon Gallery, New York. Other recent solo shows of Goud’s work include ‘Sculptures, Bronze and Terra-cottas’ at the Guild Art Gallery, Mumbai, in 2006; ‘Recent Terracotta, Ceramic, Bronze Sculptures’ at Gallery Threshold, New Delhi, and Pundole Art Gallery, Mumbai, in 2006; and those held at Aicon Gallery, New York, in 2003; and Grey Art Gallery, New York, in 2001-02. Some of the noted group shows in which his works have been features are ‘From the Vault’ at Aicon Gallery, London and New York, in 2007; ‘17th Anniversary Show’ at Gallery Sanskriti, Kolkata, in 2007; and ‘Back to the Future’ at Gallery Espace, New Delhi, in 2006. Goud’s work has also been a part of the São Paulo Biennale, Brazil, in 1977; and ‘Indian Art Tomorrow’ at the Philips Collection, Washington D.C., in 1986.

The artist lives and works in Hyderabad.

(Profile by Saffronart)

Viraj Naik

Although already proficient and established as a printmaker, Vasant Viraj Naik displays a natural flare for watercolours as well as acrylics. His works involve enchanting figures, which reflect his fascination with Greek mythology, and at the same time possess a distinct Goan feel – an influence of his strong roots.

Naik was born in Goa in 1975. He completed his Bachelor’s degree in painting from the Goa College of Art in 1998, and later, his Master’s degree from the University of Hyderabad in 2000. He has held several solo shows, the most recent ones being, hosted at Travancore Palace by Gallerie Nvya, New Delhi, in 2007; Pundole Art Gallery, Mumbai, in 2007; Lalit Kala Akademi, New Delhi, in 2006; and Museum Gallery, Mumbai, in 2004. Some of the artist’s group shows include ‘The Scared’, presented by Galleria at Museum Gallery, Mumbai, in 2008; ‘Meandering Membranes’, presented by Empire Art and the Shrine Gallery, New Delhi, at The Taj Bengal, Kolkata, in 2007; ‘Reading Paint’, Gallery Soul Flower, Bangkok, in 2007; and ‘Inaugural Show’, at the Guild Gallery, New York, in 2006.

In 2001, Naik received the Young Artists Scholarship from the Ministry of Culture, and, in 2005, won the Silver Medal at the Anvantika Awards, New Delhi.

Vasant Viraj Naik lives and works in Goa.

(Profile by Saffronart)

Rajeshwar Rao

A. Rajeshwara Rao’s paintings are about transition. Through his work, the artist reminds us in a quaint and humorous manner of the incredible influence popular media has on our culture. Rao depicts simple, everyday people and their many ambitions; he illustrates the psychological desires of the physical self. His compositions are magnificent, quirky and meticulous. The artist’s vibrant palette shares a strong dynamic with his intricate weave of lines and forms that it brings to life. Rao draws his observations of people and their stories, recording these experiences with photographic precision; however, ultimately choosing to depict them in a strange and make-believe world. Even though the artist has serious concerns about these issues, his representations of them are witty, dramatic and full of humour. His multi-faceted compositions instantly remind the viewer of their own dreams and fantasies. A. Rajeshwara Rao was born in 1960, in Vizaingaram. He completed his Bachelor’s degree at Andhra University, Waltair, in 1983 and his Master’s degree at Central University, Hyderabad, in 1990. Rao has participated in several solo and group shows, of which the most recent include those held at Gallery Espace, New Delhi, in 2008 and 2002; and ‘The Deccan Connections’ at Apparao Art Gallery, New Delhi, in 2002; ‘The Human Factor’ at the Guild Gallery, Mumbai, in 2001; and ‘Human Form and Art’ at Lalit Kala Akademi, in 2000.

(Profile by SaffronArt)

Sudarshan Gupta

Born 1972, he completed both his B.F.A & M.F.A. from the Sir J.J School of Art. He has been recipient of numerous accolades from discerning art institutions: 32nd Maharashtra State Art Exhibition, 1992, Art Society of India – 1992, Kala Gurzari Academy, 1992, Bombay Art Society, 1993, Bombay Art Society, 2006. Selected Group Exhibitions: “Group 93” at Nehru Centre, 1993, Bombay Art Society, 1995, Art Society Exhibition, 1997, Bombay Art Society, 2000, Lalit Kala Exhibition, 2004, Harmony Show, 2005, State Art Exhibition, 2006, Bombay Art Society, 2006, Lalit Kala Exhibition, 2006. He lives and works in Mumbai.

Champa Mohan

Champa Mohan born in 1979, obtained her BFA in Printmaking from CAVA, University of Mysore, in 2000 and MFA in Printmaking from the Faculty of Fine Arts, MS University, Baroda in 2003.

Since then she has participated in the VIth Bharat Bhavan International Biennale of Print-Art, 2004; 67th and 68th National Exhibition of Art, Amritsar, 2001; Kolkata Lalit Kala Academy annual exhibition, Kolkata, 2000; Karnataka Lalit Kala Academy exhibition, Bangalore 2000; Karnataka Shilpa Kala Academy exhibition, Bangalore, 1999, 2000; ABVP Annual Show, Bangalore, 2001; Mysore Dasara Fine Arts Exhibition, Mysore, 1997-1999.

Champa has received the National Scholarship from the Ministry of Tourism & Culture, Central Govt. of India, 2003-2005 and the Karnataka State Lalit Kala Academy Scholarship 1998-1999.

She attended Seven Days, printmaking workshop held at Gallery Sumukha, Bangalore, 2004 and had a solo show with Gallery Sumukha in 2005. She had a workshop at West Zone Cultural Center in collaboration with Lucknow Lalit Kala Academy, Jaipur 2002 and worked as visiting faculty at the Visual Arts Dept., Bangalore University.

Champa specializes in Graphic Prints, but also works with oil on canvas. She lives and works in Bangalore, India.

(Profile by Gallery Sumukha)

Ravi Agarwal

Ravi Agarwal is an artist, environmental activist, writer and curator. He has pursued an art practice integrally with his other pursuits. He is the founder of the well known Indian NGO Toxics Link and has been internationally awarded for his work. His earlier work, in the documentary oeuvre, encompasses ‘nature’, ‘work,’ ‘labour,’ and the ‘street,’ while more recent work has been traversing questions of the self and ecological sustainability based on explorations of ‘personal ecologies.’ He now works with photography, video and installation.

Agarwal has shown in several international shows including Documenta XI (2002), Kassel , Germany, Horn Please (Berne 2007) Indian Highway (2009 ongoing) as well as several national shows and solo shows. Agarwal recently co-curated a twin city public art show, Yamuna-Elbe.Public.Art.Outreach. He writes extensively on ecological issues, and is also founder of the leading Indian environmental NGO Toxics Link. He is an Engineer by training.

(Profile by Ravi Agarwal)

Prajakta Potni

Although she is inspired by everyday objects and landscapes, Prajakta Potnis’ real interest lies in interpreting dreams. In a world where a great deal of attention and time is focused on realizing or fulfilling one’s dreams, Potnis attempts to reverse the process and understand people’s realities through their dreams. Her unique ability to rediscover, rather than merely document reality through her body of work, allows the artist to create a new world, much like ‘a fairytale suspended in reality’, exposing the fragility of desire and the impractical romanticism of dreams. 

Potnis has painted houses, scooters and cars, all objects of desire, covered in corrugated sheets or packaging material. These material objects, usually identified with position and status, when cloaked by the artist reveal that the significance of the objects within are largely based on appearances, and that the dreams to possess them are dangerously fragile. Through her work, Potnis unsympathetically makes her viewers aware of their false sense of security and superficial desires and measures of success. 

Prajakta Potnis was born in Thane and completed her Bachelor’s and Master’s degrees in Fine Art from the Sir J.J. School of Art in Mumbai. 

She has participated in several group shows, the more recent ones being ‘Some Blind Alleys’ at Anant Art Gallery, New Delhi, in 2007; ‘Soft Spoken’ at the Bombay Art Gallery, Mumbai, in 2007; ‘Reading Paint’ at Gallery Soulflower, Bangkok, in 2007; ‘III/III - Here and Now: Young Voices from India’ at Grosvenor Vadehra, London, in 2007; and ‘Myrrh’, Tao Art Gallery, Mumbai, in 2006. The artist’s first solo show was ‘Walls-in-Between’, held at Kitab Mahal by the Guild Art Gallery, Mumbai, in 2006. In 2003-04, Potnis received the Inlaks Fine Arts Award, and in 2001-03, she was awarded a Young Artist Scholarship by the Department of Culture of the Government of India. 

Prajakta Potnis lives and works in Mumbai.

(Profile by Saffronart)

Mithu Sen

Born in 1971 in West Bengal, Mithu Sen obtained her Bachelor’s and Master’s degrees in painting from Kala Bhavan at Santiniketan, and later, completed a postgraduate program at the Glasgow School of Art in the United Kingdom on the prestigious Charles Wallace India Trust Award for 2000-2001. An enthusiastic traveler, Sen has explored several countries and many of her works have evolved from her travels and experiences.

In her works, Mithu Sen contrasts scale, subject and even genre to give life to her remarkable imagination. Installations and paintings are an important part of Sen’s oeuvre. She works spontaneously in both genres – one mark or symbol leading to another, with no preconceived narrative or definitive meaning ; put down in the style of free association, they consist of a peculiar collection of motifs that playfully subvert commonly held beliefs about femininity and sexuality. Juxtaposing intricate and large forms, conflating animals, humans and inanimate objects, and combining drawing, painting and collage, Sen’s works provoke both humour and serious consideration on the part of the viewer.

Having participated in numerous shows worldwide, Sen’s most recent solo endeavours include 'I Dig, I Look Down' at Albion Gallery, London, in 2008; ‘Half Full – Part I’ at Bose Pacia, New York, in 2007; ‘Half Full – Part II’ at Nature Morte, New Delhi, in 2007; ‘It's Good to be Queen’ at Bose Pacia Artist Space, New York, in 2006; and ‘Drawing Room - II’ at Gallery Chemould, Mumbai, in 2006. Amongst her recent group shows are, 'Still Moving Image' at the Devi Art Foundation, New Delhi; 'Link' at Sakshi Art Gallery, Mumbai; 'Contradictions and Complexities: Contemporary Art From India' at d.e.n. Contemporary Art and Western Project, Culver City; and ‘Shifting Terrains / Altered Realities’ at the Shrine Gallery, New Delhi, all held in the year 2008.

Mithu Sen lives and works in New Delhi.

(Profile by Saffronart)

Minal Damani

Born in 1979, Minal Damani received her Bachelor’s and Master’s degrees in painting from the Sir J.J. School of Art, Mumbai, in 2000 and 2002 respectively. Working in a wide range of media, from ink and watercolour to gouache and acrylic, Damani’s works are an exploration in colour and form.

Stemming from a deeply autobiographical narrative, her works are peppered with images of stars, flowers, flying birds and other objects that make personal references to her environment. Each painting has a new pattern for the story which reveals the inner life of the 'self' and the hopes, optimism, dreams, opportunities, fears, pulls and pressures it experiences. Gradually, the visuals in Damani’s work changed from fantasy-like narratives to highly patterned visuals, in which the arrangement of images is done in such a way that they form an 'even -pattern' and thus give an abstract feel to the painted surface.

Damani’s solo shows include 'Drawing Lines' at Vadehra Art Gallery, New Delhi, in 2008; and ‘Refilled’ at Gallery Beyond, Mumbai, in 2006. Her work has been also a part of several group shows, including 'Size Matters or Does it?' at Latitude 28, New Delhi, in 2010; ‘Evidentia' at Gallery Sumukha, Bangalore, in 2009; and 'Vicissitudes of the Constructed Image' at Tangerine Art Space, Bangalore, in 2009.

Damani was honoured with the ‘J.J. Teachers Award', by her alma mater in 2002, and also received the Human Resource Department’s Young Artist Scholarship from the Government of India, New Delhi, for 2001-03.

(Profile by Saffronart)

Prantik Chattopadhyay

Prantik Chattopadhyay was born in Kolkata in 1979. He completed his Bachelor’s degree in Fine Art at the Faculty of Fine Art at M.S. University, Baroda, in 2004. Two years later, he graduated with a Master’s degree in painting from the same institution.

In addition traditional Indian art forms such as miniatures, the artist draws on folk and tribal art, popular culture, well known religious themes and Bollywood posters as the background of his works. However, Chattopadhyay readapts these to fit a modern context and language, creating a sense of irony and humour in his work. In doing so, he lightly critiques modern society, which he believes is characterized by consumerism and popular culture.

Chattopadhyay’s style is quite varied. He uses different, often unusual materials in his work including food items preserved in raisin, stickers, ready-made objects, shaped MDF (medium intensity fibreboard) and acrylic sheets, and kinetic sculptures. The use of these materials enhances the satirical effect of his works, and through these he expresses his concern with sociological, political and religious issues. Although most of the works are created on the basis of external stimulus, some of them are inspired by childhood memories and experiences.

The artist first exhibited his works in a group exhibition, ‘Threshold’ at the Nehru Art Center, Mumbai, in 2005, and had his first solo exhibition in 2006 at Sakshi Gallery in Mumbai. Other galleries in India such as Red Earth Gallery, Baroda; Sarjan Art Gallery, Baroda; and Gallery Sridharani, New Delhi, have exhibited some of his works in group exhibitions. In 2002, Chattopadhyay received the Nasreen Mohamedi Award.

The artist lives and works in Baroda, India.

(Profile from Saffronart)

S Kumaresan

Born in 1983 in Chennai, S. Kumaresan completed his Bachelor’s degree in painting from the Government College of Fine Arts there in 2005.

Abstraction for Kumaresan holds a special significance. Rather than render a realist form as an abstract image, the artist attempts to capture his mood or feeling on his canvas with the use of abstract arrangements of forms and strokes. As a result, Kumaresan’s art is the product of much deliberation, as the artist tries to portray the conflicts and confusions which are the upshots of his interactions with the world. For Kumaresan, therefore, art is a vital means of expression, but not an explanation of the world; viewers can draw multiple meanings from his canvases.

Kumaresan had his first solo exhibition at Apparao Art Gallery, New Delhi, in 2008. His work has been a part of several group shows including ‘Mystique’ and ‘ABC: Between the Lines’ at Apparao Art Gallery, Chennai; and ‘Kinetics’ at Chitrakala Parishadh, Bangalore, all in 2009; ‘The South Show’ at Apparao Art Gallery, New Delhi; and ‘Madras Canvas’ at Forum Art Gallery, Chennai, in 2008; and ‘Kinetics’ at the Lalit Kala Akademi, Chennai, in 2007.

The artist was awarded a Gold Medal at the National Level by Manav Sanket Academy, Ujjian, in 2004.

(Profile by Saffronart)

SP Saravanan

Manjunath Kamath

Manjunath Kamath tells stories with his images. His narratives, however, are altered and adjusted constantly, adapting fluidly according to the environment they are narrated in, and resulting in a different meaning each time a story is told. As a visual artist, Kamath feels impelled to regularly reinvent his method of storytelling. By relentlessly working on his articulation and modernizing his techniques, the artist continuously updates his visual vocabulary.

The artist’s need to draw and hold his viewers’ attention is palpable in his varied use of painting, drawing, sculpture and video. With the help of these disparate genres he creates narratives that are gripping in content, even though they are composed of simple, commonplace elements. Thus Kamath’s forte ultimately lies in creating fantasies out of the ordinary.

Kamath usually begins a painting with just one element; this could be drawn from memories of past experiences or the reality of present contexts. He then keeps adding and taking away from the imagery, paying particular attention to structuring throughout this process, and ultimately arrives at a composition that he deems suitable to be the vehicle of his narrative. To Kamath, then, the process of construction is more important than his completed work.

Born in 1972 in Mangalore, Manjunath Kamath obtained his Bachelor’s degree in sculpture from Chamarajendra Academy of Visual Arts, Mysore, in 1994. He was also an artist-in-residence at the School of Art and Design of the University of Wales, Cardiff, in 2002. Kamath’s works have been featured in a number of solo exhibitions, the most recent ones including ‘108 Small Sories’ and ‘Something Happened’ at Gallery Espace, New Delhi, in 2007 and 2006 respectively; and ‘About Something’ at Sridharani Art Gallery, New Delhi, in 1996.

Kamath lives and works in Delhi.

(Profile by Saffronart)