25 Sep 2022

Studio Art India Art Fair 2018 Booth A10

Studio Art

India Art Fair 2018 Booth A10



Khalil Chishtee
This is not my religion / This is not my religion
Size: 46 X 8 X 1/4 Inches
Medium: MDF


Khalil Chishtee
Size: 24 X 24 X 2 Inches
Medium: Acid free paper, Plexiglas 2017


Khalil Chishtee
History is a nightmare from which I am trying to awake
Size: 120 X 35 X 2.5 Inches
Medium: Rusted metal


Khalil Chishtee
This is not my religion


Priti Kahar
Bait 1 Size: 54 X 30 Inches
Medium: Fishing Hooks & Thread On Canvas


Priti Kahar
19th C.,20th C. ,21st C Size: 12 X 12 Inches (Each)
Medium: Painted Wood & Serigraphy


Balance Imbalance Size: 73 X 22.5 X 80 Inches
Medium: Fiberglass, Graphite, Crystal, Silicon & Paint


Shivani Aggarwal
Meant to be Bent ? Size: 12 X 22 Inches (top width ) 9 Inches (Diameter from base ) 74 Inches length
Medium: WOOD


Shivani Aggarwal
Misplaced Dream Size: 14 Inches (Diameter Set of 6 works)
Medium: Acrylic on Paper cut outs & thread


Subodh Kerkar
Fiberglass & Glass Size: 117 X 78 Inches 21X 9.5 X 9.5 Inches (Each Drop size)
Medium: Brass and hand weaved cotton cloth


Vijay Sharma
Size: 12 X 36 X 2 Inches Medium: Brass & hand woven cotton cloth


Vijay Sharma
Size: 18 X 18 Inches Medium: Oil on Canvas

Khalil Chishtee

Khalil Chishtee, figurative sculptor from Lahore, Pakistan, conducts a metamorphosis of meaning in the objects incorporated into his work, transforming trash into allegorical treasure. Inspired by the notion of symbolic equality amongst tangible objects and words, Chishtee neutralizes any preconceived associations with items such as trash bags, mundane political slogans, and curse words spoken by commoners on the streets of Lahore. In this sense, no idea is precious because of its content and no material is trash because of its monetary value; a liberating notion that offers the joyful opportunity to redefine the objects in our lives.

Exhibiting an artful twist of irony in his politically-driven pieces displaying exotic calligraphy, Chishtee encourages his audience a twofold experience: deciphering the work from the perspective of visual neutrality, while also suggesting the importance of understanding the text. For example, when Urdu is used as a decorative element, it establishes a connection with its mother language, Arabic, thereby challenging the audience to reconsider the relationship between form and content, mainstream religion, and the symbolism within words. Thus, the inherent meaning is not totally lost, it is continually open to interpretation.

It is a deeply unsettling moment for any south Asian who was raised reading official rhetoric of Pakistan or India in school textbooks, to later discover the divergent renderings of history throughout the globe. Chishtee’s work entitled “History is Nightmare from Which I Am Trying to Awake” (rusted metal, 2017), is an effort to disjoin from the personal horrors of his inner conflict regarding identity and conditioning. This work depicts invading horses from right to left, mimicking the flow of Arabic or Urdu writing- a verse of Iqbal saying: Not only land we bore Your Word glorious across the heaving seas, Upon our steel of zeal, we rode unto their darkest boundaries

“This is Not My Religion”(acid free paper, 2017) the sword, formerly considered a militant weapon during the early days of Islam, is now considered an object of peace by many contemporary Muslims.

Preachers of Islam commonly speak highly about its peaceful symbolism, yet ironically, Saudi Arabia’s flag has a sword on it. My works “This is Not My Religion” and “This is Not My Country” address the same issues of disparity as the Urdu calligraphy offers peaceful propaganda about Islam and the patriotic ideas about one’s country. “Shield” (acid free paper, 2017) – The Urdu translation of the Quran’s verse about the killing of any human being is ‘if you kill one human, it’s as if you killed all of humanity.’ This piece is more about the relationship of the shield and meaning of the verse than the message itself.

Shivani Aggarwal

Meant to be Bent? Aren’t Rules being bent and broken all the time? They may be minor infractions on a larger scale, personal, political or social in nature, often twisted for convenience and greed. Many around us are seen cheating or lying …getting away with it and sometimes even benefitting from it. The rules seems to have changed from “do it right” to “don’t get caught doing it wrong”!!

Misplaced Dream revolves around the misplaced version of reality that we live with.Our aspirations, memories, dreams and desires interact with our realities and create an absurd picture in our minds where our realities interact with our dreams creating a space which is neither a dream nor reality.

Somewhere it has an absurd connection to reality. Shivani’s works take the form of poetry where elements freely interact with each other as they are cut out from their original spaces and put into another space along with threads, forming new meanings and narratives.

Priti Kahar

There are many common misconceptions about religion that are often unquestioned, such as the idea that religious people are inherently anti-science, that the literal reading of a holy text is the “true” stance, that faith is incompatible with reason, and that all religions claim to possess the sole absolute truth. Many conflicts throughout history have been ostensibly due to religious reasons, with many different religions involved.

Religion has been the cause of most conflicts, it is often used as“BAIT”. It also has been used to play an important part in creating conflict .If we remove religion, something else will take it’s place, but that “something” is never positive. It is difficult to state that there is a negative effect of “PEACE”, but that is also used as bait in many aspects. Though confrontation is often very profitable for some, it inherently involves a lot of destruction, and often breeds further discord in the future years. Is the Cause of Conflict “Power? Peace? Or Both?

S Gopinath

An ironical destiny of this exquisitely crafted horse haunts the perceptive faculty of the onlookers on their first glance. The horse seems suggestive of movement, not startled but baffled in its stance. It is blinded by something desired by many. In other words it is blinded by ‘desire’ which sprouts from within our human situations.

It’s not only a desire of materialistic wants , but in a subtle way a repercussion of our unchained/ un-monitored ‘desires’ and ‘wants’ which drive us through these ever prevailing human conditions.

The Swarovski crystal band which blinds the eyes of the horse renders it motionless, and the horse which symbolizes potency, power, swiftness, and which is a measuring gauge of many human emotions and ‘wants’ is literally rendered useless and meaningless for its lack of vision. The graceful irony of the situation is; it was rendered into this situation by its own uncontrollable wants and desires.

There is a ‘want’ of movement , which is mirrored by the impossibility of movement. The horse is frozen in this baffled stance and is stuck between its ‘want’ and the reality of its situation. Symbolically and physically it rocks to and fro and continues to do so without any promise of emancipation. This sculpture works its way towards poking our conscience and presents us with this unique interpretation of the law of causality….” If there is a cause, then there are its effects”. It hopes towards a collective enlightenment, symbolically asking us to keep our ‘greed’ in check, and maneuvering us towards a responsible way of life and sustained living.