( "I'm nobody who are you? Are you Nobody? Then there's a pair of us-don't tell!", Acrylic on Canvas
Priyanka Aelay)
I have come into this world to
live on my own
And you on your own
If we meet its well and good
If not, it’s also fine
Zen philosophy depiction of journey, akin with Priyanka
Aelay’s words “I’m nobody, who are you? Are you no body, too? Then there’s a
pair of us-don’t tell!” The exhibition of nouveau 8x12 of paintings, sculptures
and new media by coal group of 13 artists held in Telangana state gallery,
Hyderabad from 11th to 21st November is a voyage for me
through the perceptions of Animalism to post animalism. Most of the exhibits
drew a picturesque probe of self existence through animate and inanimate
objects. Animalism concerns about our
basic metaphysical nature: whether we are material or immaterial; simple or
composite; substance, property, process, or event; organic or inorganic; etc.
In a contextual frame as animalist asserts.
As Priyanka Alley states that “you have to start with a line or a dot to
bring forth a complete imaginary world” thus this exhibition flows from a dot
and traverse in a cyclic order rather than linear. Though each exhibit explicates
individual image but they have continuous flow like energy cycle stating they
are Ind “vi” dual.
(Euclaimonia, Acrylic on Canvas, Anand Gadapa)
Priyanka’s and Anand Gadapa’s paintings
depict a biosphere perception of the universe. With persistence of imagination
and evolution of images and imagery correlated with the tendency of more energy absorbing and dissipating in the
niche.
Shankar’s painting of
‘Luv Hyderabad’ reflects the strokes of Mario Miranda’s Nimbhu pani; each city
has its own course and culture. Hyderabad known for chit chat over ‘ek chai and
ek empty’ (one cup of tea and one empty cup), ‘Luv Hyderabad’ has vital and
lucid strokes of movements of time and space as natural flow because of genre
of the artist’s profession. The only thing I missed in this painting was His master’s
voice (HMV) device. Which was part and
parcel of Irani hotels in those times, HMV symbol depict a German Sheppard
sitting in front of the gram phone illustrates the transition from Animalism to
Post Animalism. Those Irani hotels were not only abodes of chit chat but
locations for identifying the people and mapping their mundane life. At that
time the present colonies were villages in transition and gram phone record was
a key instrument in concurrent changes.
( Crowded Isolation, Acrylic on canvas, Bharath Sayam)
As Bharath Sayam cites “Drawing
for me is like giving a form to an idea and then the idea itself becomes the
form” through ‘Crowded isolation’ painting. Evolution is existence of millions
of years surrounded by millions of objects than live. It creates a natural
tendency of mentally limiting for particular limit at any time a ‘body” and
attribute it perseverance properties. Thus isolation becomes a movement within
crowdedness. This is aptly captured through the physical movements in the
painting, rather than portraying in non corporeal postures.
( Mystical Strength, Acrylic and charcoal on canvas, Nagesh Goud Bolgum)
The transition process is
managing to store more and more beyond one’s own body and transmitting it to
further generations. Basically that form of energy is physically abundant in
animals that’s the “Mystical Strength” depicted by Nagesh Goud Bolgum. The
source for strength relies on the source of energy, which can neither be
created nor destroyed; it’s a bull’s eye. The black and vivid colors in the
images transform from translucent to transparent through the eyes of the viewer
with a motif of harappan bull.
( Revisiting- Churning of the Cosmic Ocean, Acrylic and charcoal on Canvas,
Kumaraswamy Bhaktala)
(One -self in all forms, Acrylic on Canvas, Jayaprakash Doma)
( Nymphs of Lotus pond, Acrylic on Canvas, Priti Samyukta)
The further transition
from animalism is a journey of higher learning and the key feature of this is organization
of matter would be the need for reflexivity and inventory. The alleyway of this auxiliaries
through a mythological metaphors world in the paintings of
‘Revisiting’-churning of cosmic ocean by Kumaraswamy Bhaktala, Nymphs in the
lotus pond by Priti Samyukta and ‘one self in all forms’ by Jayaprakash Doma, invariably
form as continuity path from biosphere perception to animalistic perception of
depiction of dramatic celestial images evolved in tidal wave through the
churning of the ocean and yet with an instinct of desire of the ‘life’ in mono
appearance. The image of tiger depicted in one-self in various form shows the summit
of the life pyramid well composed in a much near to spherical mold. In ‘revisiting’
painting the images of Sura and asuras (mostly male) are altered with the
presence of women in an advanced stage of attire, which might throw light on
different way of perceiving the event, metaphor and the memory. The
‘Nymphs in the lotus pond’ portrays
various images including different species and inanimate ones in a way
conversing with each other inhabited at different locations engulfing the nature spirits. These paintings invariably
make us to re look the river Eco system as a living source for not only for life but for a lively imagination process
which is ignored and even the judiciary systems pose the question of defining them
whether they are animate or inanimate.
( Royal Gaze , Acrylic on Canvas, Ravikanth Masuram)
The voyage of nouveau
takes a different course from this point through the paintings of ‘Royal Gaze’
by Ravikanth Masuram. ‘Royal Gaze’ is a process of back to the roots
illustrated in sepia tones and blues of a precedent era. This is the stage of
advancement of technology which transformed the land use pattern and driving
towards man influenced niche, the post war analytical philosophy has totally
erased the image of animal and the interest of nature of us was an interest in
analysis of what is to be person. The industrialization and urban revolutions
evolved as hand in glove. Two major landscapes occurred in this process,
embarking land for industrialization and vast areas for creating resources
through the new empires called estates. These steps are major tools for
colonizing the space and moving beyond the natural imagination.
( Mapping My City Acrylic on Canvas, Nirmala Biluka)
‘Mapping My city’ by Nirmala
Biluka explicitly narrates the zonalization in the urbanscapes. Throughout the
world the depiction of cities are nomenclatured as old city and new city
distinctly bifurcated by river. Yellow ochre with brown tint in the painting creates
the mood of that nostalgia and a zeal for identifying the areas where we grew
and played, and looking at new city and modern Nymphs with goggles of old city.
( Luv Hyderabad, Acrylic on Canvas, Shankar Pamarthy)
( Concurrent Trends in My Village, Acrylic on Canvas, Narsimlu Kandi)
‘Concurrent Trends –In My
Village’ by Narsimlu Kandi is delineation of this. The figures in ‘Concurrent Trends
- in My Village’ are all in standing posture envisaging the momentous change in
alter attires. History is assumed in terms of time and space. But History is
just an half an hour or hour journey from the location we reside. It’s neither
so far nor a tedious journey, its accumulation of memories in a rapid change
and we have lost the capacity to store those memories in a rapid change taking
place in few seconds and the age of nostalgia is shrinking day by day.
( Tale , Teller and Told, Acrylic on Canvas, Laxman Aelay)
We share those nostalgia through
different discourse and one such is ‘Tale, Teller and Told’ by Laxman Aelay an
indication of post animalism discourse. The local narrators or tellers
recreated that era through their memories passed to them form generations and
furthered by adding the current events with their local knowledge not only to
entertain the audience but it pass on the information about change. As stated
by Laxman Aelay ‘one day the narrative in the background itself will come into
the lore and present itself-life like canvas move or become a movement itself’
The life size image of teller and told has distinct 3D effect and similes of
transition which recite, though the performers might become extinct but the
narration will continue, it goes into hibernation but seldom ceases, because
it’s the stage for it to transform as mineral resource for narrative capital.
( Re-finding Form, Steel and scarp material, Shivaramachary Yerraginnela)
‘Re-finding form’ sculpture by
Shivaramachary Yerraginnela lucidly expresses that images which are much
pedestrian and derivative than what they seemed back then. Because time on
little snippets is a function of space both cease at same instant. While
viewing at the sculpture my memory is driven by an image of wind flowing
through a cloth placed by drying, the flow of the wind on the cloth creates an
air tide on the cloth making it like a river. And it just withers away in a
second, transforming the event into a metaphor and memory, so making the flight
its self a means,applause to Manvinder Dawer, curator of nouveau 8x12 for this
flight of clock wise and counter clock wise.
