EXHIBITION "Time and Being" a solo show of Paintings by Aparna Bidasaria at Triveni Kala Sangam, 205, Tansen Marg > 17th to 26th April 2017

Time : 11:00 am to 7:00 pm  Add to Calendar 17/04/2017 11:00 26/04/2017 19:00 Asia/Kolkata EXHIBITION "Time and Being" a solo show of Paintings by Aparna Bidasaria Event Page : http://www.delhievents.com/2017/04/exhibition-time-and-being-solo-show-of.html Shridharani Gallery, Triveni Kala Sangam, 205, Tansen Marg, Mandi House, New Delhi - 110001 DD/MM/YYYY - Exhibition on View

Entry : Free

Venue : Shridharani Gallery, Triveni Kala Sangam, 205, Tansen Marg, Mandi House, New Delhi - 110001

Venue Info : Events | About | Map | Nearest Metro Station - 'Mandi House (Blue Line and Violet Line) Exit Gate - 1'

Area : Mandi House Area 

Event Description : EXHIBITION "Time and Being" a solo show of Paintings by Aparna Bidasaria

Unusual indeed to find an artist who spends days hours and months just painting the banyan tree in its splendored spectacle over seasons in different reflections of light. 
Aparna Bidsaria from Indore presents meditations on the banyan tree in a show Time and Being curated by scholar and critic Uma Nair.
Her art is clearly demonstrated in the quiet art of pointillism and the principle of drip that was so sublimely created into mosaics of netted sunbeams by the master Jackson Pollock. But Aparna moves beyond territory of both Eastern and Western artistic techniques, delicate dots and lines are employed to denote shape and form against a pointillist background that echoes of the past and present melding to give us studies on the banyan that are glimpsed in the time zone of sunrises and sunsets.
From autumnal gold’s, to orchestrated embers of ochre’s and amber, her use of warm, bright colours of orange and yellow stand out as a product of his earlier experimentation. As the colours expertly complement one another, Aparna achieves in imbuing the painting with an essential stillness, harmony, and balance.
After a period of intense and productive experimentation in the past 5 years, working in the style of abstraction, abstract expressionism, and introducing new subtext of minimalism into her works, brings her full circle to her early fascination and introduction to the variety and vitality of life and culture of the integral philosophy of Indian thought in which the banyan is considered sacred and profane.
In the colour toned studies Aparna completely embraces colour and chooses to work with blue and crimson and amber tones. The background is handled with subliminal brush strokes, in a pared down manner that eliminates detail, creating an effect approaching pure abstraction, while the sweeping, variously shaded dots, arranged in a spare horizontal composition, evoke spatial depth. The haze-like atmosphere invites an unrestrained exercise of the imagination when you think of a misty monsoon morning and the banyan becoming a mirage of the miracles of nature.
Aparna uses this technique to construct a sense of space in many works. The ivory and amber series is undoubtedly the most outstanding of these. The use of short staccato strokes of paint to express the variances of the scattering of light may appear casual, but in fact the work demonstrates Aparna’s profound understanding of the oriental brush-and- ink tradition and the highly sensitive control of mood.
For Aparna the banyan is more than a mendicant subject. 
She says: “ I look at it as if it’s a symbolism of the dance of life and time. To me, that’s what the Bargad/Banyan signifies. Turning all of our preconceived notions onto their heads, its roots fall from the branches to reach out to earth; its branches merge to form other trees. Left to its own devices, a Bargad spreads across eons of time and acres of space- personifying the majesty and power of nature. Yet, there is gentleness in it. Its graceful sprawl invites you to swing on its roots, to rest in its shade, to enjoy the cool breeze of its leaves, until you leave refreshed.” 

Curator:  Art critic-columnist Uma Nair

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