Studio Art | Focus section at Art SG 2024
Presents Three artists ;
Megha Joshi
Sachin Tekade
Shivani Aggarwal
Megha Joshi's
Quasi-Ritual XX – XXX
The artist makes forms inspired by underwater coral, using only materials used in Religious Hindu rituals - making us think about the natural order, which she considers divine, juxtaposed with human constructs of divinity.
The artist manipulates these materials with great dexterity.
The rudraksha beads are sacred to Hindus and used in chanting.
The “Janeyu” white thread is used in caste ceremonies of Brahmans - the “high caste” in india.
The red and yellow mauli is a thread tied on any occasion a ritual is conducted - for protection and as a commitment to the prayer. The cotton wicks coloured with inks and acrylics are used in clay lamps for prayer…
With the environment in distress, dying coral reefs and human strife over religion, they become a powerful statement apart from being beautiful.
Sachin Tekade
Refraction - The unattainable desire
How does one observe a natural phenomenon and translate it into a minimal yet impressionistic piece of art? Sachin’s mind is perfectly capable of creating meaningful abstractions, minimal by nature and yet originating from the most mundane situations that exist in nature and in life. Imagining sitting near a pristine stream where the flow of water creates various patterns and as the light hits the surface, objects lying on the bed of the stream seem enlarged. This sparks a curiosity in one’s mind to touch these objects. The artist intends to construct a story regarding impractical yearnings. Just as water distorts the shape of objects beneath it, our minds often create a false narrative of an ultimate truth.
उत्पित्त | Genesis;
“Form follows function - that has been misunderstood. Form and
function should be one, joined in a spiritual union.” - Frank Lloyd Wright
Organic forms that occur naturally have non-uniformity in their shape, while geometric forms have uniform edges and are mostly man-made. Interestingly, on closer observation organic forms usually take a larger geometric shape in unison while geometric patterns tend to look like organic growth at a macro view. Molecules in gaseous form take spherical shape naturally. Snowflakes at microscopic view look geometric. It is paradoxical to state that this series is an ‘organic’ geometry of sorts in Sachin’s range of artworks.
The word “Genesis” needs no explanation. It simply is an origin, root or source. At the beginning of his career, Sachin was most inspired by the architectural marvels of a city and its horizons. He spent many years living in a city (initially in Mumbai and now in Pune), he understood that every settlement had a different story, different needs and therefore took it’s unique form. This series is an artistic view of the expanses of modern settlements, which finds a symmetry between the principles of parametric, minimalism and generative architecture.
Prabhav | प्रभाव - The duality of Impression;
Over the past one and a half decades, Sachin Tekade’s artistic career has seen a plurality of language in the context of paper and its textural exploration. He has gone from linear to solid, white to black and now at a fascinating juncture - the usage of colour, which the artist was hesitant to use so far.
Sachin invents an accent of colour so bold that it makes the hidden metaphor perceptible. Societal osmosis is where a man is affected in perhaps two ways, the first is tangible or physical and the second is emotional or psychological. In his own words, Sachin says, “Intrinsic human behaviour is imbibed from the immediate environment. We are directly affected by the people we meet and talk to. Their energy and emotions are passed on to us in ways we won’t understand or comprehend”.
The series enquires the duality of effects of this impression that humans experience. When closely observed ; the original colours are hidden while the colourful impressions on the other side of the paper can be viewed. Aided by light, the leakage of colour on the other side is equivalent to emotions seeping from one human to another. As beautiful as this exchange of colours and light appears on paper, the real-life implications of such a transfer of energy might be more complicated. In the most simplest and precise manner, Sachin puts forth his understanding of this complex human behaviour in the form of his minimalistic body of works.
Shivani Aggarwal
A set of wooden newspapers, which touch upon ideas of preserved time, transience, lost news and quiet rebellion.The writings on the newspapers are about small radical changes in our social stereotypical thinking brought about by common citizens to bring in transformation and create alternate ways of being and living away from conformity. The work is paradoxical as it talks about rebellion and transformation while being completely static. It also touches upon the slowly diminishing printed news in this era of social media and digitalization
'Crevices II' is created meticulously by stitching threads on canvas with an acrylic colour base. Creating a mesh cloth like form which holds nothing within other than the deep empty crevices. Threads appear to be like pencil markings and hold hollow spaces between themselves and the canvas. They are framed on embroidery frames.
Emptiness is a set of works on canvas, which are created by meticulously stitching delicate cotton threads creating a mesh. These forms appear to be like a cloth yet they are fragile, holding nothing in them and made only of threads. The work is an attempt to define emptiness that these entities hold
