KOCHI MUZIRIS BIENNALE
Title: Hidden Voices
First Room | Collateral Show | From 12 December 2014 to 29 March 2015
A technology led installation where multiple suspended bottles in a dark room have a film running in each of the corked bottles like voices trapped. The works collectively titled ‘Hidden Voices’ seek to explore subliminal layers and entities trapped in their crevices. They make a conscious and deliberate attempt to hollow out and expose multilayers that often house thoughts, feelings and other such data; which are bottled, processed, and then lost in translation. A data lost between source or origin and the recipient. The fragility or strength of purpose, of the set and bottled boundaries, stands unsubstantiated in their intangibility. The voices and shadows therein still painfully linger and echo the sentiments trapped in them. More often than not, entities build delusory walls as fortresses, to protect the ‘Hidden Voices’ and yet expend considerable energy in trying to scale these same walls to enable an escape or release. This energy creates a disturbance. The visual representation here alludes to a cosmic dance with a ‘transmission of emotional energy’ in the form of physical waves, in bottled entrapment, begging for realization or arbitration. It bares a skeletal frame devoid of surface negotiations and complexities. It’s the under surface that holds integrity and authenticity. The only appeasement will be ‘connection and dialogue’ which hopefully the viewer will provide to afford completion.
KOCHI MUZIRIS BIENNALE
Title: Scraping The Lacuna – Film
Second Room | Collateral Show | From 12 December 2014 to 29 March 2015
Excavations reveal the scraping of the inner lacuna. Like scraping dry rot from trees after they have been felled. The layers are pealed bit by bit to reveal historic scars; a few markings, and then there is an attempt to revisit, conjoin and resuscitate. The inscriptions here read: “I tried to peel the scabs and pick on the scars; for they bled no more but had hardened and cemented, like a hollow yet pulsating lacuna till you came along.” Here, there is a constant and incessant endeavour to fill underlying cracks. ‘Hidden voices’ are those whispers that push through submerged waters to the surface till the physicality of their presence is palpable. The voices contained, more often than not, beg to be released. And release is only possible with acceptance
MALL GALLERIES TNFP PRIZE
Title: Bulls & Bears
The Artist has been one of 7 Shortlisted Artists for the Threadneedle Figurative Prize
The Judges were: Richard Cork, Angela Flowers, Hew Locke, William Packer & Art Critic Brian Sewell
Mall Galleries, London | 28 Aug – 5 Sept 2008 I | Sponsored by: ING Direct
The order had now changed. There had been a monotonous hum, continual and shrill; of bulls and bears, of carbon footprint and the cacophony of greed. But now with the new order, no amount of pennies jingling could open the world locked down like an iron blanket. Rules that defined society no longer had any bearing. Economies crashed like ninepins and the grinding mills came to a standstill like the last groan from an overworked exhausted machine. The works here endeavour to show the fall of world economies and a society grappling to find definition of order as their reference points all get rearranged and redefined.
Solo Show | January 2010 | Visual Arts Gallery Delhi and Art Alive Gallery, Delhi.
Foreword written by Sir Nicholas Grimshaw, President, Royal Academy of Arts, Piccadilly, London.
With an in-depth published interview with Dr Michael Asbury, Director of Research Centre for Transnational Art, Identity and Nation.
Retinal Residue implies that layers of influences have converged leaving in their wake some residual matter in the retina; after eliminating some waste. A lot of this retained residue is dependent on the perceptual consciousness and perhaps through selective memory some images are retained as a result of context and/or the imagination. The reproductive imagination is the by-products of an association of ideas, objects and the context. The connection between the associated items is contingent, and dependent on various experiences and in this case their multicultural. They therefore comprise of complex patterns of sensory states constructed by a productive imagination. The outcome is a unified process and guided by a combination of sensory input, memories, expectations and varied influences.
ST REGIS HOTEL COLLECTION
Painting displayed as permanent collection at the lobby of The St Regis, Mumbai
The painting is from the “Monks” series
All energy patterns stem from the cyclical motion of thought and action. Auras are sucked in, churned and then expelled or emanated, dissolving into other energy fields creating altered states of being. The continual use of spiral and circular patterns try to chalk out the attraction and dissolution of energy fields between any two entities, whether metaphysical or celestial in esoteric energy patterns. In this instance it forges and infuses an aura of positive energy into the stratosphere.
FORMS OF DEVOTION FOR MOSA
“I held on to a beam of light and clenched my fists, never to let it go.
Its eternal glow suffused me, mind, body and soul. Even in the depths of darkness, at night.”
Exhibition travelled to: Delhi, Bangkok, China Art Museum, Shanghai & MOSA Belgium 2015 -16.
Curated by Sushma Bahl, MBE, Head of Arts and Culture at British Council.
Author: Martin Gurvich, Director of the Museum of Sacred Art (MOSA).
Hard Bound Book