weaver of fables - buy mylar sheets
Comfortably located in a corner of Colaba, the gallery of colshi, Mumbai, is a reverse painting of acrylic
Female God with och color as the background.
At first glance, this number has a striking resemblance to the goddess.
Bodhisattva, Tara: a peaceful face and a dense long lock with a lotus flower in his left hand.
Looking more closely, one realizes that it is actually a feature on the cover of Andal: The Autobiography of the goddess (
Ancestral book, 2016)
, Compilation of the eighth episode of the same name-
The hymns of the century Tamil mystery poet translated by the poet Priya Sarukkai Chabria and Ravi Shankar.
The painting is part of the memorial K. G.
The Subramanyan exhibition opened in the gallery on October 13 to celebrate the latest work made by the late modernist at the age of 91, just before his death on June
The exhibition was first exhibited in Mumbai in cooperation with the seagull Art Foundation, focusing on 36 works --
Mix reverse painting on acrylic and blackand-white gouaches.
The strokes are brisk and smooth, almost dynamic in nature;
Although the age of Subramanyan is growing, the steady grasp of the brush at least indicates any shake.
"Today, Andal sang to us the ecstasy of harmony that was cherished but never explored. K. G. ’s [
Because Subramanyan is still affectionately called]
The reverse acrylic gift gives us an Andal, whose hair is cloud, and whose hands are lotus flowers and parrots, which watches our eyes with a direct and mysterious look.
As she stared at us through the veil of time, his Andal was accompanied by a young beating.
There are fewer skills, K. G.
'S Andal is fragile, intense and plain, not surrounded by the stone walls of the temple, but by those who wander in the heart cave and summon the stars --
Just like our Andals, "said Chabria.
Naveen Kishore of Kolkata seagull books granted permission to use the painting as a cover image, and he has been publishing Subramanyan's book since 1983 --
More than 40 so far.
Designed by graphic designer Sunandini Banerjee. “K. G.
Very much fascinated by the glass medium, like its brightness and vulnerability.
Later, he began to use plastic Mela sheets in his reverse painting.
These opaque sheets are similar to drawing films used by architects, "explains Sakshi Gallery gallerist Geetha Mehra.
This technology requires a well. charted vision.
"One must start immediately.
"The process is irreversible and people don't know how the work will develop, so the painting is done horizontally," she said . ".
Some sense of disrespect for authority is inherent in Subramanyan.
This is manifested in many of his works, especially those of the gods and goddesses, or his fascination with sarabahangika, or the sculpture of a woman standing under a tree. “K. G.
His views are very blunt;
He is always outspoken. He took pot-
Shoot everyone and write the letter without saying his words
No one survived, "recalled reminisra.
His works have both the real side and the imaginary side, and most of his works are fables of life.
For example, one of his reverse acrylic pieces blends into the image of the goddess duerga, who is a symbol of strength, glory and supremacy, and a monkey hangs freely across the window, maybe I want to participate in some form of shadow.
Boxing with God.
"It looks like it's the primate's order to enter the altar to create confusion and confusion," Mehra said . ".
"In addition, certain human attributes are incarnated as local gods in tribal cultures;
"Where these attributes impress the gods, there is a naivety that is then modified according to the purpose of the tribe," she further said . ".
Although this series of works conforms to the changeable method of Subramanyan, it reflects a significant deviation in the visual image of the terracotta murals created by his Rabindralaya in Lucknow, based on the drama "King of darkroom" by Rabindranath Tagore, or a set of reliefs in ceramic and cast cement he produced in 1969 according to the teachings of Gandhian.
Coincidentally, a precious corpusKishore discovered both book publishing and art. “His [Subramanyan’s]
Our publishing life dates back to when we first started publishing. Professor R. Siva Kumar [
Close assistant to art historian and Subramanyan
Sent us a request for us to consider publishing his set of articles in the 1980 s and we agreed.
This was the first time I met Subramanyan Santiniketan.
"The book that came out of it is called a living tradition," he said . ".
"Then, this leads to each other's work --
Subramanyan as an artist and as a publisher we-
Build a relationship that allows us to plan and present his work.
"Kishore has almost the ability to combine strategy with intuition.
Sketch graffiti painting is an ongoing tourism exhibition that first forms a book of 50 years of Subramanyan painting in The Seagull Book, published in 1999.
"I discovered these with him about two years ago and offered to exhibit them all over the country.
Interestingly, so-called non-
The Indian subway is also the focus of our tourism exhibition.
"The works have been on display in Patna, Bhopal, Lucknow and boubaneswar, and will be on display in guwahatti next month.
"There are hungry audiences in these places that don't see enough art," said Kishore . ".
The wearer of many hatsBorn in Palghat (Palakkad)
In Kerala in 1924, the academic and world view of Subramanyan was unparalleled compared to most other artists of his time.
His work goes far beyond the scope of painting: he is a sculptor, a mural, an art writer, a toy manufacturer, a textile designer, an illustrator and an educator.
He avoided being narrow and was always happy to interact with his students.
"In sannikitan, even after he retired, K. G.
"I would sit in the canteen and chat with the students during the tea break and also enjoy a strange smoke," said Mehra . ".
He is a strong supporter of Hadi, keen to read books on politics and art, and is particularly interested in papers from various seminars.
Benode Behari Mukherjee, Ramkinkar majj and Nandalal Bose were greatly affected in his youth at Kala Bhavana in San Nikita
"He has his own studio in sannikitan.
This was given to the university and is now the living space for the students.
"There is a material warehouse that they can access, and it's a place for dialogue, debate and discussion," said Mehra . ".
"He's usually called" mani-
"In Bangladesh, da is a form of honor and respect, and for students in Baroda, he is 'mani sir, '" she added '. ".
The recipient of Padma vibb Mountain wrote his painting in Tamil in a simple "mani.
In the 1960 s, many weaving centers were established across India.
The emergence of Nehruvian modernism has led to the revival of handicrafts and indigenous technologies.
Subramanyan joined weavers's service center in 1961 and has worked in depth with several artists and designers who focused on the time
Active movement of textile art and murals.
In building the relationship between design, art and craft, he is one of the table anchors.
"Several designs created by KG are woven on the fabric as the theme;
"These movements have enhanced the capacity of textile workers in the country," Mehra shared . ".
Drama Stage-assisted subramanyan's flip-up is the embodiment of a scene with several characters --
Some of the events started here and were very chaotic.
The elements of "spoilers", acting, and drama capture the spirit of the times in which his animation and the inanimate object are combined.
Most of his work is carried out "inside", and vases and urn are metaphors for relics, reliefs, or clocks --jars.
While still life's vocabulary appears directly outside of Matisse's studio, Subramanyan's natural nimble hands shape a bold outline of his character's facial features.
Subramanyan has an unmistakable feeling for the lively, intense colors;
His color palette is mainly blue, scarlet, pink and Amber.
His work has murals, textile patterns, toys designed for children, and the influence of Kalighat pat's painting tradition in San nikitan, all with his rich selection of bright colors
However, husky black or unbleached white presents their form in an equal size in a painting, often unaffected by the surrounding chroma.
A group of animals, some of which are hybrids or beasts of God, find a place in the black of Subramnayan. and-
Works of white water powder.
One may attribute this charm to K. G.
Studies on bird and animal landscapes
Professor Nandalal Bose's indispensable tradition of santinikitan-
The study of nature and his fascination with birds.
Mapping this idiom, we meet the application and cracks of deer, goats, elephants, cattle and horses in a landscape that is probably idyllic and unconquerable.
The disorganized figure of the Rooster and the Crow, like the "meeting of birds", is an interesting anomaly, manifested as a feeling of indifference.
Although not all of this exhibition
It takes the varied works of the veteran artist as an example, appropriately summarizing the fantasies, fables and folklore he weaves together, and the world in which his characters reside.
"I have a stable and rich connection with K. G.
Starting in the middle1980s.
We're about 10-
12 times a year.
Showing this series of works also seems to be a kind of closure to his amazing man, "concluded Mehra.
The author is Mumbai-