The curatorial notice for Waiting Room, the present curated by Shruti Sainani, on at Gallery 21, Fort Kochi, delved into what constitutes identity, which grapples with time, area, gender and a host of different elements. The curator has tried to current that advanced factor referred to as identity by means of the works of up to date artists such as Sonal Varshneya Ojha, Piyali Ghosh, Varsha Nair, Ananya Patel, Vivek Vilasini, Monica Rani Rudhar, Maujle Ganguly, PR Satheesh, Arun Edathatt, Malavika Rajnarayan, Ajinkya Patekar, Mahirwan Mamtani, and Abraham George.
One of Mahirwan Mamtani’s mandala-inspired works
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As with any group present, this one was a kaleidoscope of inventive expressions — there are work and video installations. Each resulting in the identical conclusion — an exploration of identity. Some of the works demanded the viewer have interaction, draw their very own inferences, whereas the others information. And some are confounding, the type that makes one surprise/query the function of artwork, whether or not it’s an train in narcissism or edifying for the viewer.
The works of Vivek Vilasini’s sequence Quarantine Suites archival print on Hahnemuhle paper are oddly disturbing and evocative of that point. Malavika Rajnarayan’s works are reminiscent of Indian miniatures with a rider on a flying horse in one, and a girl with a giant hen in the opposite, the daring palette and complex etchings. Ajinkya Patekar’s Balloon Seller, Crimson Bloom and Radiant Mutation (all oil on canvas) are daring, vivid, uninhibited and maybe the closest to the theme as are Sonal Varshneya Ojha’s etchings, Mann ki baat and Emoticons. The most stirring are Germany-based painter, graphic and multi-media artist Mahirwan Mamtani’s works from the Seventies – the mandala and/or tantra-inspired Centrovision sequence.
The present concluded on July 15.
