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The aesthetic trope of an artist's vocabulary

The aesthetic trope of an artists vocabulary
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Threshold art gallery has organised a solo show of recent paintings by Anindita Bhattacharya, referencing the Indian miniatures, patterns and ornamentation with a contemporary twist. The exhibition which has been organised from the January 15 till February 27, is a satellite event to the India Art Fair.

The artist is a Gold medalist of the Nasreen Mohammedi Award from Prestigious Maharaja Sayaji Rao University in Baroda. The aesthetic trope of Anindita's vocabulary allures and encourages the viewers to travel through thousands of year of art history across various cultures and traditions; the content is paradoxical.

The Ornamentation in her work is not benign but conflicting in more than one respect, though they appear to create harmony, on a closer glance one might observe that they are layered and infused with imagery of subtle violence and chaos.

The narratives are expressed in multiple layers in her paintings allowing her to juxtapose various experiences from different time frames. Creating patterns and ornamentation remain an integral part of her work, serving to camouflage her images. Though they appear to create harmony, on a closer glance one might observe that they are layered and infused with imagery of subtle violence and chaos.

The seductive power of the intricate craftsmanship is in full display but it is marshaled to hold a mirror to contemporary realities; the fraying of our syncretic tradition, the disquiet of a world torn asunder with rhetoric laden with violence. This paradox is the central leitmotif of Anindita's oeuvre.

The tug of war between the beguilingly seductive surface and the coded messages embedded in them adds to the allure of her work.

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