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4 Sep 2014 8:59 PM GMT
Art lovers can head over to Gallery Five as it organises its next monthly art exhibition titled Excess Denied. The show displays a wide range of works by India’s leading and upcoming modern and contemporary artists. The participants are – Anjaneyulu Gundu, Arpit Biloria, Deviba Wala, Manish Barodia and Shahanshah Mittal.
Excess Denied is an ode to purity of thought and action which have led to the creation of these artworks.
The collection demonstrates the fundamental technical skills and conceptual strength of an artist. They blur the boundaries between the everyday and art without succumbing to histrionics and excesses. They embrace the basic tenets of being human and humane.
‘The utilitarian objects represented in my paintings speak of the lives of the people who handle/use them in their daily little histories’- says Gundu. He believes that every object is an actor in a larger scene and every scene is part of another act. That is why he concentrates on the individual object in his hyper realistic paintings.
Biloria noted, ‘Volume is something which can be realised even when you take away the distracting color’. White, he sees, as a ground, where images lay hiding. Black acts as connecting point between dimensions revealing these images. He plays with what exists and what does not.
Deviba summarises her minimal and usually monochrome abstract work as having a naive depth. Naive in the context that her art is one that’s kept devoid of all obvious influences of the daily life and today’s world but not in its literal sense. Her work consists of broad spectrum of lines intersecting into each other as if weaving a beguiling net for the viewer to immerse in. She wants her art forms to create a niche and exclusive mind space in the viewer thus letting him/her strike a chord with their inner self. The strength in her art is the ode to a life’s pure existence. The many subtle layers in Mittal’s paper work represent inner monologues which cannot be vocalized.
Excess Denied is an ode to purity of thought and action which have led to the creation of these artworks.
The collection demonstrates the fundamental technical skills and conceptual strength of an artist. They blur the boundaries between the everyday and art without succumbing to histrionics and excesses. They embrace the basic tenets of being human and humane.
‘The utilitarian objects represented in my paintings speak of the lives of the people who handle/use them in their daily little histories’- says Gundu. He believes that every object is an actor in a larger scene and every scene is part of another act. That is why he concentrates on the individual object in his hyper realistic paintings.
Biloria noted, ‘Volume is something which can be realised even when you take away the distracting color’. White, he sees, as a ground, where images lay hiding. Black acts as connecting point between dimensions revealing these images. He plays with what exists and what does not.
Deviba summarises her minimal and usually monochrome abstract work as having a naive depth. Naive in the context that her art is one that’s kept devoid of all obvious influences of the daily life and today’s world but not in its literal sense. Her work consists of broad spectrum of lines intersecting into each other as if weaving a beguiling net for the viewer to immerse in. She wants her art forms to create a niche and exclusive mind space in the viewer thus letting him/her strike a chord with their inner self. The strength in her art is the ode to a life’s pure existence. The many subtle layers in Mittal’s paper work represent inner monologues which cannot be vocalized.
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