|a body of flows - 2017 May 12-19, Vyloppilly Samskrithi Bhavan, Trivandrum
Not to render the visible, but to render visible the invisible" Paul kleeSreekrishnan K P, Curator
The task of painting can be construed as an attempt to render visible forces that are not themselves visible.
Sajitha Shankhar, in her paintings tries to make visible the sensation of being a female body . The forces invisible in a female body which is not rendered visible yet. Force is closely related to sensation; for a sensation to exist, a force must be exerted on a body. So as to capture and make sense of these insensible forces, Sajitha paints them that are not themselves visible on body thus the Alter Body.
We know that bodies add hevily in constructing the contemporary culture, as the body contribute to the top soil before and after it decays.
Madhu is digging little deep where you get the color of clay. “That color can be an a passion which makes a base mood to wait for novel sprouts” as Madhu himself states. He digs deep and bring out the color of clay and the ancestral architecture with it. Platonian discourse on architecture is based on the benevolence of domestication, that architecture promotes the social good and is placed as non-mimetic, hence non-deceptive, artform (in contrast with sculpture).
Madhu as true as an artist digs into the culture and brings ancestral architecture to the contemporary only to question the goodness by rendering visible the invisible gypsy who is the proud owner of non architecture and that vagabond lightness. Gypsy culture all through the human existence surf on the contemporary and always enrich the top soil. They never digged their basement deep. Madhu muddles that flow and thus halted.For now it is “Closed For Restoration”. Domestication is also the process of handling a zone of flux- that fragile world of the mysterious child. Priti as an artist looks for the unseen in this flux. She subverts the adaltomorphic genesis of the child.
“My point of departure in most of my works are my own old family albums , I am fascinated by the emotions portrayed in them” as Priti herself states. She departs from the mementos which tell the story of a progressive growth of the child and arrives at “Four times five is twelve, four times six is thirteen...” (inspaerd from Lewis Carrol’s alice in wonderland) a series of water colors with unbecoming childhood. When Alice grew she got larger than she was, and at the same time was smaller than she became.
Sajith’s child has no conflict it is not worried about growth or becoming. It’s a self amusive pleasure object, fully immesred in an eternal space travel. The alternated architypal image provokes the adult for an internal search for the child.
Another flow in this body is from Dipin Thilakan. As he himself says “The aim here is to present the contemporary happenings and to place them within the context of a multilevel discussion”.
The woman in his work is aligthed into a an image very distant from the locale. And the locale is negotiating the liberal and the divine woman. Relationship riddles brings the folkish flow into this body. The woman in Midhun Mohan’s “ Contemporary Traditions” is not liberal she is even traditional. This work is from the series of portraits Midhun is working from his own image source documented during his frequent travel across India.
George R with his interacting colors on canvas, Anil dayanand with the the benevolent “Kappri Muthappan” who guarded and guided Fort Kochi for centauries, The revolving fabric disc of fairies of Shanto Antony… All the flows in this body, if seems to be perpetual the breaks which make these flows are also perpetual. Thanking all ten artists for collaborating with this show.