The participating artists are Dattatraya Apte, K. Laxma Goud, R.B.Bhaskaran, Kavita Nayyar, Jyanti Rabadia, Shail Choyal, Ravi Kumar Kashi, Manu Parkeh, Madhavi Parkeh, Sidharth, Rini Dhumal, K.R.Subbanna and Hanuman Kambli.
There are several varieties of original prints like lithograph, woodcut, engraving, intaglio, etching, serigraph and many more, each with its own characteristics and must be selected with the conceived results in mind. But the USP of this show is that the artists were asked to perform a new experiment with their prints – of adding drawings on their prints once the limited edition prints were made. While the basic print remains the same for the number of prints in each limited edition, it’s the different drawing that’s done on each of them which makes the collection exciting.
Says Suruchi Saraf, Director, Art Perspective: “Print is a medium which is known to all, it's nothing new for the art lovers. We wanted to add an exciting element to the whole experience of doing this show and what better than blending the two beautiful mediums of printmaking and drawing... It adds a new flavour to each work and it also shows how the same image can be elaborated in various forms. These prints in spite of having a common subject still makes every work different and unique by the different drawings done on them and this makes each print one single edition. That is the USP of this show.”
Says Dattatraya Apte on his prints with drawings: “Creating black and white print and adding drawings on them was a great experience. Print etched in soft ground technique gives a pencil drawing like effect. The image is static and provides a stage for the drawn images in watercolour and colour pencil to play different characters. Each print enhanced with drawings creates a different setting for the visual narrative. The garden of Garhi has become a part of my daily life and the crows, squirrels, leaves, flowers, stone path-way, twigs, chair, earthen bowl with water, curtain and glass pane play their role in building the narrative.”
Says Jayanti Rabadia, “My works are usually based on ‘sayings’ or kahavatein, emphasizing their strength through different forms of animals, birds along with human figures, speaking of their heroic achievements and is associated with Indian mythology. For this portfolio of ten prints with drawings, I have chosen the Dashavatar.”
K.R. Subbanna says: “Printmaking gives me a fresh lease for my pent up feelings. I began to assimilate my early influences ranging from the sculptural art of the Hoysala and Chalukyan temples and the paintings of Ajanta, Ellora and those of the Indian miniature. These varied sources amalgamated into my world view from where I realized the linearity of motifs and its decorative details. My flair for handling the fantasized images, showing their integration with nature are a direct outcome of the memories of my childhood getting transformed into adulthood, acquiring their shape from within the precincts of salubrious atmosphere and luxuriant forests around my village. This is why my prints whether lithographs or etchings, etc, show a grand co-mingling of the human and animal form with nature at their most intricate level, emphasising, little erotic overtones, but it is elevated to its finest extent. I present it as an expression of my natural instincts incarnated as my sublime experience. An allusion of horse morphing appendages, a plethora of hands and forelegs expresses of one made of many images. However, drawing fantasized floral motifs on these print has been an experience with difference all together.”
Says R B Bhaskaran, “When it comes to traditional print making and their limited editions, the accepted code is to have a number of limited editions, and then the cancellation of the original plate but when Art Perspective thought of this experimental idea of printing an edition and then also drawing around each of the print, and that too not with identical drawings, it was challenge for me. It took more time to do the drawing than the printing itself. I have enjoyed this experiment as it is all free hand drawing allowing your imagination to flow. I chose to draw all those elements that I have been painting or drawing for the last 48 years. There are the symbols of my life cycle series, the Echo of freedom, the still life, the study of nature and, of course, the cat along with other animals and birds around a couple.
Ravi Kumar Kashi says: “As individuals we are in the habit of ‘holding’ on to things. We buy and hoard objects and see them as possessions. It becomes an extension of our personality and at times it substitutes us. We also hold hundreds of emotions/thoughts in us without expressing them. In this series, where etching and drawing has been combined, I was looking into various ideas of ‘holding’ and ‘letting go’ of possessions. Letting go feels like unburdening oneself. Since it is the same matrix that continues all through, it is like opening all the pages of the book and looking at them simultaneously. Only in breathing can we neither hold nor let go, both are necessary.”
Shail Choyal says: “An episode from Bhagvatpuran where Krishna plays the divine flute and the resonance mesmerises the cows to return home is the basis of my work. The imagery of the cow has been my most favourite motif for the last one decade and I have loved to paint, etch and sculpt the cow in its various moods - and aimed to project a dramatic tension through juxtaposition of the allegorical with the real. Use of landscape through pencil drawings around the flute player is neither religious nor historical but sensuous and other worldly. The drama in the episode here may look absurd and ironic but, I certainly aim to balance the ironic and the absurd with the nostalgia I confront in everyday life”.
Siddharth portrays a folk tale from Punjab of how practice made a man perfect. The story is that of a man who carries his cow on his shoulders when it was very young and light. Every day he does the same till he can carry the cow even she was older and heavy. The artist says: “I made the drawing and the gallery took the initiative to get the etching prints done from a professional printmaker. Later, I started to build images around the print with different permutation and combinations. It was a great experience and very experimental exercise in art.”
Says Madhavi Parekh: “I spent my childhood in a small village called Sanjaya in Gujrat where we use to celebrate all festivals. I use to enjoy Christmas a lot as a friend was a Christian. The image of Christ always remained as important to me as Durga and Kali. As an artist, when I visited Jerusalem, all my childhood memories became fresh and thus the icon of Christ became a part of my work.”
Manu Parekh says about his work titled Flowers from heaven: “Whenever I visit a temple, church or gurudwara, I realize the presence of two things - Faith and Flower. For me flower is a symbol of faith.”