The Comfort in Culture

Artist Nayana Melinamani digs deeper at the roots of culture and finds comfort in the simple activity of quilt making. She paints the social, political, and economical essence of this unifying craft which becomes the main vocabulary of her works.. observes Sushma Sabnis.

Through the Looking Glass

Young artist Bhartti Verma’s works hold the enigma of a portal which leads into an altered reality, a parallel universe within the landscape of the mundane. Anchoring those new found realms with her presence in her photo realistic works, she presents subtle imageries of an urban life, made bearable by virtue of a changed perspective.. observes Sushma Sabnis

Laying the Bed to Rest

In his recently concluded solo show, ‘Me Beyond Me’ at Jehangir art Gallery, Mumbai, artist Mallikarjun Katke displayed a few paintings, a video work and an array of installations which seemed autobiographical in nature, or were they?..  a critical review of the show by Sushma Sabnis

The Clock Ticking on Humankind

In the recently concluded two persons show ’Time.. little time’, artists Lester Paul and Glower Paul bring to light the true visage of the conflict zone of contemporary society while time passes by as a silent witness over this looming battle ground… observes Sushma Sabnis

To Be or Not To Be.. 

In a world fraught with the deceit of conmen and hustlers with beards, artist Devidas Agase presents his recent works ‘Bahuroopta/ Polymorphism’ as a well timed critique on this dystopian masquerade ball and its aftermath on the lives of the living, observes Sushma Sabnis

The Sudden Birth of Galleries in Fort Kochi: Who is Midwifing Them?

There is an interest of somebody to move the art activities to Fort Kochi completely. And could it be the result of the futuristic thinking that the Durbar Hall, one of the venues of the KMB may be reclaimed by the artists through the help of the Lalitha Kala Akademy? Is it a ploy to divide the opinion of the artists who do not totally agree with either Akademy or the KMB? Is it a way to create more spaces for the artists in Fort Kochi so that the mainland would be abandoned and an exclusivity would produced around the location and aesthetics within Fort Kochi? Who is the manipulator behind these moves? Is it a part of legitimizing certain art activities?