EXHIBITION 'Social Commentary' an exhibition of paintings by Sanjeeva Rao and Srinivasa Reddy N at Apparao Galleries, The Lodhi, Lodhi Road > 10am to 6pm on 1st October to 26th November 2015
Time : 10:00 am - 6:00 pm
Add to Calendar
01/10/2015 10:00
26/11/2015 18:00
Asia/Kolkata
'Social Commentary' an exhibition of paintings by Sanjeeva Rao and Srinivasa Reddy N
Event Page : http://www.delhievents.com/2015/09/social-commentary-exhibition-of.html
Apparao Galleries, The Lodhi, Lodhi Road, New Delhi 110003
DD/MM/YYYY
- Exhibition on View
Entry : Free
Venue : Apparao Galleries, The Lodhi, Lodhi Road, New Delhi 110003
Venue Info : www.apparaogalleries.com / www.thelodhi.com | Map | Nearest Metro Stations - 'JLN Stadium(Vilolet Line)' & 'Jor Bagh(Yellow Line)'
Area : Lodhi Road Area Events
Event Description : Apparao Galleries presents 'Social Commentary' an exhibition of paintings by Sanjeeva Rao and Srinivasa Reddy N.
Both artists with extraordinary skills extipulate ideas with a great sense of humour and wit, laughing at themselves as well as the world around them.
Bangalore based Srinivasa Reddy N’s works are a visual commentary on leaders in history using a language that is grounded in a bygone era but tinged with an element of satire. Reddy uses images that are anchored in his familiarity with the town of Mysore, a historically rich place replete with iconic images of Mahishasura, portraits of kings and palaces. This he juxtaposes with icons of pop culture, graffiti and currency notes to create an anarchic world where different beings and different epochs coexist.
The images that the artist uses in the present body of works draw from his earlier series of works where he portrayed Mahatma Gandhi’s ‘Three Monkeys’, an icon of virtue, against a backdrop of currency notes. Reddy cleverly blurs the line between the ‘real’ and the ‘virtual’ using both actual currency notes as well as photographically painted currency notes. The artist thus draws an analogy that just as the line between the ‘real’ and the ‘simulated’ is grey similarly the gap between the ‘moral’ and the ‘corrupt’ in contemporary society is grey. Interestingly, Reddy’s paintings often include the artist’s own image thereby acknowledging his own complicity in the state of affairs.
The uniqueness of the Reddy’s paintings is their familiarity with the painterly tradition of Mysore where attention is lavished upon intricacies. He daringly transforms this artistic legacy that was patronised by the state to critique the idea of the nation-state. One may even say that Reddy’s work belongs to the lineage of the South Karnataka school which has produced stalwarts such as K.V.Venkatappa who were known for their exquisite lines and proficiency with watercolours.
Though Reddy in Netas and Netaji works both on paper and canvas the fine brush work of the artist and the calligraphic marks are a throwback to the tradition. Reddy uses the fine lines here both as an image and as ‘script’ that forms a murmuring background. In addition, the artist’s use of letters creates a haunting sense of nostalgia, for a time when all Netas were indeed Netajis.
Sanjeeva Rao Guthi draws from his observations of political and social events to create paintings that speak of the power struggles that characterize contemporary life. His works encompass concerns ranging from the personal to the political and evokes a picture of the tangled web of life where we are part of a large consumerist financial network, yet remaining emotionally isolated.
Sanjeeva Rao explores the layered intersections between the individual and group psyche; the compromises that an individual has to make to fit into a collective identity as well as the sense of empowerment that belonging to a group confers. Key to these dynamics are the play of power, which he captures with youthful irreverence using an absurd juxtaposition of political leaders, animals and people. Sanjeeva Rao’s world view is not just one of conflict since he imbues his paintings with a rare sense of beauty. His imagery of stacked up chairs, brick walls, organic motifs and bundled up belongings are, at first glance, elements of design that contribute to the overall aesthetic appeal of the work. On closer look, these images reveal themselves as vehicles of socio-political critique that depict, in a tongue-in-cheek manner, the common man reeling under the pressures of an apathetic systemic. Working with watercolours of kaleidoscopic brilliance, his use of medium is similarly multi-layered in its purpose. The explosion of colour and form across the surface seem to be a metaphor of the group psyche which confers on the individual a “sentiment of invincible power which allows him to yield to instincts which, had he been alone, he would perforce have kept under restraint.” The chaos and energy of his works weave a picture of today’s anarchic environment. At the same time, it refers to a sense of collective energy that is the redeeming power of man and holds out a glimmer of hope for the future.
Entry : Free
Venue : Apparao Galleries, The Lodhi, Lodhi Road, New Delhi 110003
Venue Info : www.apparaogalleries.com / www.thelodhi.com | Map | Nearest Metro Stations - 'JLN Stadium(Vilolet Line)' & 'Jor Bagh(Yellow Line)'
Area : Lodhi Road Area Events
Event Description : Apparao Galleries presents 'Social Commentary' an exhibition of paintings by Sanjeeva Rao and Srinivasa Reddy N.
Both artists with extraordinary skills extipulate ideas with a great sense of humour and wit, laughing at themselves as well as the world around them.
Bangalore based Srinivasa Reddy N’s works are a visual commentary on leaders in history using a language that is grounded in a bygone era but tinged with an element of satire. Reddy uses images that are anchored in his familiarity with the town of Mysore, a historically rich place replete with iconic images of Mahishasura, portraits of kings and palaces. This he juxtaposes with icons of pop culture, graffiti and currency notes to create an anarchic world where different beings and different epochs coexist.
The images that the artist uses in the present body of works draw from his earlier series of works where he portrayed Mahatma Gandhi’s ‘Three Monkeys’, an icon of virtue, against a backdrop of currency notes. Reddy cleverly blurs the line between the ‘real’ and the ‘virtual’ using both actual currency notes as well as photographically painted currency notes. The artist thus draws an analogy that just as the line between the ‘real’ and the ‘simulated’ is grey similarly the gap between the ‘moral’ and the ‘corrupt’ in contemporary society is grey. Interestingly, Reddy’s paintings often include the artist’s own image thereby acknowledging his own complicity in the state of affairs.
The uniqueness of the Reddy’s paintings is their familiarity with the painterly tradition of Mysore where attention is lavished upon intricacies. He daringly transforms this artistic legacy that was patronised by the state to critique the idea of the nation-state. One may even say that Reddy’s work belongs to the lineage of the South Karnataka school which has produced stalwarts such as K.V.Venkatappa who were known for their exquisite lines and proficiency with watercolours.
Though Reddy in Netas and Netaji works both on paper and canvas the fine brush work of the artist and the calligraphic marks are a throwback to the tradition. Reddy uses the fine lines here both as an image and as ‘script’ that forms a murmuring background. In addition, the artist’s use of letters creates a haunting sense of nostalgia, for a time when all Netas were indeed Netajis.
Sanjeeva Rao Guthi draws from his observations of political and social events to create paintings that speak of the power struggles that characterize contemporary life. His works encompass concerns ranging from the personal to the political and evokes a picture of the tangled web of life where we are part of a large consumerist financial network, yet remaining emotionally isolated.
Sanjeeva Rao explores the layered intersections between the individual and group psyche; the compromises that an individual has to make to fit into a collective identity as well as the sense of empowerment that belonging to a group confers. Key to these dynamics are the play of power, which he captures with youthful irreverence using an absurd juxtaposition of political leaders, animals and people. Sanjeeva Rao’s world view is not just one of conflict since he imbues his paintings with a rare sense of beauty. His imagery of stacked up chairs, brick walls, organic motifs and bundled up belongings are, at first glance, elements of design that contribute to the overall aesthetic appeal of the work. On closer look, these images reveal themselves as vehicles of socio-political critique that depict, in a tongue-in-cheek manner, the common man reeling under the pressures of an apathetic systemic. Working with watercolours of kaleidoscopic brilliance, his use of medium is similarly multi-layered in its purpose. The explosion of colour and form across the surface seem to be a metaphor of the group psyche which confers on the individual a “sentiment of invincible power which allows him to yield to instincts which, had he been alone, he would perforce have kept under restraint.” The chaos and energy of his works weave a picture of today’s anarchic environment. At the same time, it refers to a sense of collective energy that is the redeeming power of man and holds out a glimmer of hope for the future.
EXHIBITION 'Social Commentary' an exhibition of paintings by Sanjeeva Rao and Srinivasa Reddy N at Apparao Galleries, The Lodhi, Lodhi Road > 10am to 6pm on 1st October to 26th November 2015
![EXHIBITION 'Social Commentary' an exhibition of paintings by Sanjeeva Rao and Srinivasa Reddy N at Apparao Galleries, The Lodhi, Lodhi Road > 10am to 6pm on 1st October to 26th November 2015]()
Reviewed by DelhiEvents
on
Thursday, November 26, 2015
Rating:
No comments:
Comment Below