Book Online Tickets for An art exhibition of recent paintings of, NewDelhi. 
New Delhi, Two artists artexhibition of recent paintings of Pratibha Singh and Anju Kaushik will be heldfrom 3rd  December, 2011 atShridharani Gallery, Triveni Kala Sangam, 205 Tansen Marg near Mandi House, NewDelhi. This exhibition will be av

An art exhibition of recent paintings of Pratibha Singh and Anju Kaushik


About The Event

New Delhi, Two artists art
exhibition of recent paintings of Pratibha Singh and Anju Kaushik will be held
from 3rd  December, 2011 at
Shridharani Gallery, Triveni Kala Sangam, 205 Tansen Marg near Mandi House, New
Delhi. This exhibition will be available for public viewing till 12th
December 2011  from 11:00 AM to 07:00 PM






The artist is born and brought up in Varanasi.
She was inclined towards art field since her childhood. But after doing her
graduation she realized that art and she are made for each other and she took
it as her career. After her marriage she shifted to Delhi and got the
opportunity to join TRIVENI KALA SANGAM. Since then she is associated with
Triveni Kala Sangam as Artist under personal guidance of internationally
acclaimed artist Mr. RAMESWAR BROOTA. Since then she has executed more than 150
art works in the medium ranging from Charcoal on paper to acrylic on canvas to
oil on canvas. However since last 8 years she is mainly working in “OIL ON
CANVAS”. The artist chooses
subjects of her paintings from day to day

life and correlate the theme of her paintings with daily life.


About The
Paintings Being Showcased


            Now a days human
beings are surrounded by the things created by them rather than natural things.
This is particularly true for urban population as they are surrounded by all
the man made mechanical things. Now we have no other option but to find mental
peace and harmony in these mechanical things only. In the paintings being
exhibited in this show the artist has blended mankind which is created by the
nature and machines which have been created by man. The artist had portrayed
beauty of softness against hardness of machines in these paintings. These also
show merging point of hardness & softness, large & small, live &
still and natural & manmade.


Pratibha Singh’s paintings
envision a symbiotic world of human beings and machines. Happy transformation of
bold and bald male figures into strong and sturdy (lean and mean) two wheelers
happens in her works as if it were a celebration on the birth of a new being.
According to Pratibha Singh, this transformation of human beings into
semi-machines is a positive and progressive thing though she has some critical
points to add to it. She says that even if we do not want the organic nature of
human beings turning to certain mechanisms, contemporary world and its life
style is such that one cannot move away from such changes. However, in her
works, the human beings and the machines are not in conflict. They seem to have
grown into each other and have created a inseparable bonding between them.
Hence, Pratibha’s works capture the essential relationship between man and
machine and the sensuous and erotic possibilities of it.


Views of Critiques about
Pratibha’s Works


Mr. Keshav Malik, a renound art critic and writer says about the
paintings of the artist:


“Pratibha Singh’s work is not sci-fi, but then she has used the same
vision to compound contrary elements. In her hands the organic and the
inorganic are brought into wedlock, apart from human-cum-animal forms. Now of
course the new technology, that of medical inventions, have done so already, as
in orthopedics. That is, it has taken recourse to the non-living to aid the
living and the breathing. But that is a means to survival, an aid to life. The
artist’s aim is surely otherwise. For all art is devised for our inner
introspection, for our retrospection; so that we play with our emotions of fear
and wonder and what not in order that our awareness expands in freedom. We
human are speculative creatures, and especially so our vanguard, the artists
who exercise their imagination to the hilt. It is so this artist invents, not
super realistic images, but of an evolutionary artistic designer’s. And she
does this with consummate skill and precision - almost with a technologic
exactitude. The feel of her work is as of a scientific detachment, not of
melodrama. She is tight-lipped, as to whether, her hybrids are revulsion
causing or emotionally engaging. But still she does obliquely hint at the shape
of things to come in the temporal world


JOHNY ML a renound art critic
and writer says about the paintings of Pratibha:


“Unlike most of the woman artists in our times, Pratibha is not so keen
to be an avowed ‘feminist’ artist. Her works, even when they are celebratory,
do not highlight the so called delicate women figures or the hallmark imageries
of the woman artists, such as stitching, threading, smearing of red colour
reminding the viewer of menstrual streams and so on. On the contrary, she looks
at man from a woman’s perspective and the positive feelings that she nurtures
towards man keep her out of the quotidian conflict. According to Pratibha, the
images of man as seen from a woman’s point of view, and his relationship with
the machines around him suggest the progress of our society.


However, a closer view of the works of Pratibha would reveal that by
hiding or obliterating the presence of women from her pictorial surfaces or
even by denying their right to be represented in certain forms in a work of art
that too created by a woman herself, Pratibha subtly brings forth the state of
affairs in their actuality. One could also read her works as strong critique on
men who itch to transform themselves into machines every day. There is a
generalization in there; the artist wants to say that the human beings while
focusing on growth and progress move away from the basic values of life.


The canvases created by Pratibha Singh are contemplative and
celebratory at the same time. The choice of colours is deep and gives the works
the depth and power that she wants to convey. At times she tends to capture how
even the other animals including cows and bulls become machine like in a
society like ours. Progress and development are brought here for critical
reviewing. The artist creates a counter point to this kind of ‘power-change’ by
painting a man in the form of a contortionist or a yoga practitioner. This man
bends backwards to achieve an extreme posture. Is this one metaphor that
Pratibha incorporates in her work to camouflage her criticism, one would
wonder. A hand from an unidentified person supports the bending man. Is that
fate or super consciousness? Is that we call God? Or is that what Pratibha
suggests others to have compassion and care, while one blindly forces himself
towards progress and development, like a machine? I think Pratibha’s works
answers these questions in a very aesthetical fashion.”


Dr Subodh Mahanti, a
well-known science writer and critic says about paintings of Pratibha:


“Human beings could move from the Stone Age to the Space Age because
some of them dared to imagine differently. Human imagination not only changed
the ways they lived but also the ways they thought.  And this process continues...The integration
of human and machine has been a popular theme in science fiction, an important
art form. In a sense the concept has moved from the pages of science fiction
books to reality in the forms of artificial limbs and mechanical aids used by
human beings. Pratibha Singh, an accomplished artist, through her artistic
expression has visualized this integration in altogether different
dimension…She is bold enough to exaggerate, transform, and deform nature to
generalize and synthesize her observations…It is very likely that the
integration of human, machine and natural objects will create a world which
will be altogether different from the existing one. As someone said, “we live
in a world where dream and reality interchange.”...The images visualized by
Pratibha Singh can stimulate the scientists, technologists and inventors
engaged in the integration of human and machine to think in a different
perspective. The images are powerful enough to stimulate creative expressions
by others of a future where the man-machine integration will be the key







under the veteran artist, Rameshwar Broota.After doing graduation in science
stream and MBA she choose art

MY WORK-----------

am defining lines through perspective, movement, flow and colour. My painting
is somewhat related to an optical art, form of Abstract art, which uses
repetition of simple forms and colors to create vibrating effects, moiré
patterns, foreground-background confusion, an exaggerated sense of depth, and
other visual effects. In a sense, my all paintings are based on visual
perception: manipulating rules of perspective to give the illusion of
three-dimensional space, mixing colors to create the impression of light and

allows me to control the illusion of depth in an image with space ranging from
a few inches to many miles. Simple single lines amassed in intriguing movements
across a page can be a very rich drawing, full of intricate rivelets of various
sizes and curvilinear swings which surprise and please the eye. Line as
movement drawings can be composed of hundreds of lines. The exciting design
aspect is that it is always being created and continues to change until the
very end. It's a composition that is unexpected, planned from line to line, and
space to space and allows me full control of movement from here to there. My
lines begin and blend into each other, the path sometimes hard to discern.

line is a beautiful element, all by itself.


Writer ,art critic Aruna
says about Anju Kaushik


Remarkable about Anju’s approach is the fact that she uses
the tools of Optical art, perceptually kinetic in its intent, as her device for
conveying quite the opposites of calm and ease. Geometry-based, her works are
mostly non-representational,
except perhaps the light at the end of the tunnel, signifying hope and joy, radiating energy achieved by efficient colour management
both in terms of power and finesse. Positive and negative
share equal importance, where clearly, one could not be created
without the other.


In the manner of Optical art painters she has devised
complex optical spaces by manipulating repetitive forms such as parallel lines,
checkerboard patterns and concentric circles, or by creating chromatic tensions
from the juxtaposition of complementary colours, creating illusions of
movement. This creation of effects through the use of pattern and line, wavy
lines placed close to one another on the pictorial surface, creating such a
volatile figure-ground relationship, is never allowed to reach a point that
begins to hurt the viewer’s eyes. This substantiates another earlier
observation that “her best is courteous towards the viewer.”



JohnyML Writer,
Critic, Curator, Translator has written about Anju Kaushik that she is an artist who employs the
possibilities of optical illusion and the fundamental theories of Op Art in
order to mould and define her creative life. she has carved out a niche for
herself as her works have this distinct quality of optical illusions. Though
Anju clearly wishes to create dazzling optical illusions in her works, her body
of works takes the viewer beyond the momentary pleasure of optical titillation.
She has a tremendous sense of abstraction and design that helps her to
articulate her personal philosophy on contemporary life and society through
these visually exciting works.


According to my views, the ‘skin’ of Anju’s works represents
the exterior glitters of the contemporary life. The outer skin of the society,
especially in the fast globalizing world through liberal economy and
neo-imperialism, looks so beautiful and alluring that it almost functions like
a desire trap. What Anju addresses here in these terms is the idea of
transparency; transparency in anything that facilitates a dignified life for
the social beings. But once caught in this desire trap, people tend to forget
the dangers and they fall victim to all kinds of desires. By repeating the
illusionary representation of the forms and shapes, Anju reminds the viewer of
the nuances and allurement of our contemporary life.

However, political correctness is not the only point of
departure and indulgence for Anju. As an artist with great facility and
technical skill, she enjoys the abstract values evolve from within these
optical works. Abstraction, considering the visual art context, also for Anju
is the fundamental essence of a work of art whether it is figurative or
non-figurative. Through the depiction of the ‘essence’ and the essential, Anju
attempts to touch at the core of two things; one, a style called Op Art and
two, the life itself. There is a sort of meditative abandonment as well as
creative deliberation seen evident in her works. They demand complete attention
from the viewers and at the same time, the works ask the viewer to
scientifically detach from the surface of the work and see the core of it
through deeper contemplation.

To gain this end, Anju abstracts human bodies, objects and
spaces in her works. The human bodies as seen in her works are extremely
beautiful and voluptuous. But before the eyes of a viewer they do not come as
desirous bodies, instead they create an anthropomorphic illusion, throwing the
‘image mass’ between the shape of human body and that of the animal body. Anju
seems to be deriving a lot of pleasure through adding up certain amount of
precariousness in most of her works, especially in a painting where she paints
a few cups stacked up in a very precarious way. The visual pleasure of Anju’s
works is extended as she chooses to paint on canvases of varying sizes. But
cutting down uniformity, Anju revels in variety and she guides her viewers into
a realm of pure visual pleasure and contemplation.


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