Invest in aesthetics?

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DISTINCT STYLE A work by T. Vaikuntam
DISTINCT STYLE A work by T. Vaikuntam

Senior and young artists showcase their works at Ashvita till March 31

From significant circuits of `universal', `international' and now within the `homogenised' global phenomenon, art seems to have lost its `aura' as Walter Benjamin would like to define, having long attained a commodity status. Today within this process of art commodification, it continues to maintain its dynamic space, involving the human element, particularly the artist's feelings, desires, emotions, sentiments and his passion to fashion and create. This is evident at a show titled "The Art of Investment," where 28 artists in the range of experience from nationally established to the experimental and established category, have showcased their works at Ashvita Art Objects and Artefacts.Though titled "The Art of Investment," the show is on another trajectory, juxtaposing the concept of art as good investment and for pleasure with the aesthetics of its select practitioners, who broke new grounds in the realm of modern Indian art particularly in the 1960s and 1970s. And artists such as K. M. Adimoolam, A. P. Santhanaraj, Laxma Goud, T. Vaikuntam, Jogen Chowdhury, R. Krishna Rao, K. Ramanujam, Sohan Qadri, Prakash Karmakar, M. X. Susairaj, Yusuf Arakkal, K. Ramanujam, C. Douglas and G. Subramanian serve as luminaries.

Different visual language

The younger artists in the show have developed a different trajectory obviously conditioned by the material reality surrounding them and project their energy and vibrancy through a visual language that is different from their predecessors. These artists are T. M. Aziz, Bose Krishnamachari, Fawad Tamkanat, S. Harshvardhana, Laxman Aelay, Sachin Jaltare, Sadanandan P. K., Srikanth Kurva, B.O. Sailesh, C. Krishnaswamy, Ramesh Gorjala, M. Siva, Benitha Perciyal, Vinay and K.K. Raghava. Nonetheless, the works grabbing the eyeballs are those of Srikanth, Sohan, Subramanian, Benitha, Siva, Fawad and Vinay. Subramanian's iconic imagery of Ganesha and Krishna are layered with metroscape vignettes. Benita's `Butterfly and Secrets' eloquently express her enigmatic language in which the process of creation takes valence, establishing images of every day nature as the ubiquitous butterfly. Fawad's untitled canvas establishes his transit to larger group compositions, worked in an interesting style obviously appropriated from photography. Siva's large works create the binaries of heaven and hell physically demonstrated through two canvases but framed as one. The symbolism of the two domains manifest in his greyish blue and grey and red imagery, the former bound and struggling while the latter resplendent in majesty, confronting each other across an arid yellow space. Symbols and metaphors play a vitiating role in his works creating tension that makes them absorbing.The show has a wide range in terms of themes, textures, materials and styles. It is on at Ashvita, Off Dr. Radhakrishnan Salai, till March 31.ASHRAFI S. BHAGAT




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