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My work directly reflects my background. The Sundarbans area of West Bengal, is my birth place and in that deltaic landscape it is difficult to travel on foot. One has to cross several rivers as a means of daily commuting. As a boy on my way to school, I was fascinated by the reflections of objects, boats, people, falling on the placid water of the creeks and inlets and ponds in this area. During this time of the ebbing and flowing of the tides, the shadows that fell on the water surface fascinated me. So, when I began to work as a full-fledged artist, all I wanted to depict was this phenomenon of shadows falling on the water surface. But the challenge before me were how to reflect a hollow pond and the character of the water? The reflection of the tree, so that one could see the change in the contours of the form? Also the depicting quivering effects of reflection on the surface was another of my concerns. In course of time, I also began to link the physical phenomena with my philosophical reflections. I related the quivering surface to a man’s chetana (thinking power). I found that the unrest of questioning minds, the gentle nature of the challenge, and the tenderness of thought could only be reflected thought this technique, where as the blooms on the banks could form the mirror images quivering in the water below. Before long I improved upon this idea and created the lapping of waters around the plants through a slide bend in the forms. I generally use bronze as a medium, it is impossible to depict the landscape in another medium. My initial attempts to depict the scene was through forms such as boats, children swinging from mangrove branches, roots, lotus blooms etc. Now my space has move beyond the physical dimensions and serves as a commentary on the unrest in society and the vulnerability of man within that surrounding. MrinalKantiGayen Asstt. Professor Govt. College of Art & Craft, Calcutta Born on: 18 Jan, 1971, at Kakdwip, West Bengal EDUCATION 1996 Graduate (B.V.A.) in Modelling & Sculpture, Govt. College of Art & Craft, Calcutta, 2003 Post Graduate (M.V.A.) in Modelling & Sculpture, Govt. College of Art & Craft, Calcutta,
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Commingling pictures and text, Sahu borrows motifs from the mass media. The black and white photographic images adopt a documentary style of address, presenting a snippet of everyday reality, such as we would be likely to find in a newspaper or magazine clipping. Yet, in Sahu\'s oeuvre, this process of citation operates on multiple levels. The artist is intensely aware of the pictorial surface of the canvas. Monochromatic pictures are contrasted with vividly painted areas and abrasions on the canvas form interesting textural motifs. However, in his work Sahu moves away from the high-modernist obsession with the formal properties of the painted surface. The paintings operate as performative gestures connecting the realms of art and society. For example, if Sahu draws attention to the materiality of the canvas through deliberately disfiguring its surfaces, the technique also highlights the symbolic importance of the image thus blemished. Violence is enacted on the pictorial surface, so that art is no longer the terrain of isolated intellectual pleasure, it becomes part and parcel of our social and political environment: both implicated in its aggression and a place for critique. As such, Sahu\'s painting functions as social commentary. Acutely conscious of the inherent conflicts in the urban condition, his works draw ironic, sometimes poignant, attention to its underlying brutality and cloaked hypocrisies. The crowd forms a familiar theme in his canvases. Through the depiction of its seething mass of faces, the artist analyses common human sentiments and the complicated relation between individual consciousness and collective deeds. The artist lives and works in Santiniketan.
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Partha Shaw is a painter who schooled in Santiniketan - a place steeped in artistic tradition and history, generated by masters like Nandalal Bose and the Tagores, and enhanced by modern and contemporary artists like K.G. Subramanyan, Sunil Das and DharmanarayanDasgupta. It was in Santiniketan that Partha Shaw developed his imagination and creative vision. But even though Shaw had this rich and overflowing background to borrow from, he like most of the other artists there, decided to create a style of his own and add to the heritage he learnt of, rather than make use of it. Here, he could also closely study nature and the works of the great Indian masters. Taking off from the unique Indian miniature, Shaw gave shape to his personal vocabulary of artistic expression, which is characteristically Indian and at the same time is loaded with modernity. Shaw works mainly with landscapes, but handles them in a very contemporary fashion. Instead of using abstract methods of representation, Shaw, along with some other Bengal artists, has used figures in his paintings to represent what he wants. This movement has very aptly been termed \"Figurative Symbolism,\" a conscious effort to exhort the virtues of the non-abstract. Shaw explains his work and inspiration, \"Born in the decaying, overcrowded, bustling Kolkata, the profound stillness of shabbily ornamented, architectural remains, that seems to be lost with the upcoming of modern times traverses through my subconscious thus forcing an emergence of mystery and fantasy conjugated in the human presence. The glory that the Indian miniatures carried lost its importance with the roll of time. My searches always tend to glorify this lost gold on a surface that dictates a torn survival in somber darkness. Nowadays I am trying to incorporate traditional Indian miniature art with contemporary modern art. My medium of painting is acrylic. To portray the architectural loneliness I also use some graphical qualities.\" Partha Shaw was born in Kolkata in 1971, and received his BFA and MFA from the VisvaBharati University, Santiniketan. So far most of his showings have been in his own city, the exceptions being a couple of exhibitions in New Delhi. Shaw`s first solo show was held in 1995, and hopefully this young artist, who already has an artistic movement to his credit, will see many more years of fruitful career awaiting him.
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Debabrata De was born in 1959 in West Bengal. In 1989 he received his Diploma in Fine Arts from Indian College of Arts and Draftsmanship, Calcutta. Debabrata had several solo shows: In 1989 he showcased solo at Tagore Art Gallery, Calcutta. In 1990 he had a solo show at Academy of Fine Arts, Calcutta. In 1997 he exhibited solo at RashtriyaLalit Kala Akademi, New Delhi. In 2006 he had a solo exhibition at Colour& Brush Commercial Gallery, Mumbai. In 2008 he showcased at Sanskriti Art Gallery, Kolkata. He participated in several group exhibitions: In 1989 he took part in a group show at Academy of Fine Arts, Calcutta. In 1990 participated in group shows at Bajaj Art Gallery, Mumbai; at Jehangir Art Gallery, Mumbai and at Nehru Centre, Mumbai. In 1991 he took part in Ganapathi Terracotta Exhibition at Chemould Art Gallery, Calcutta. In 1992 he participated in Arts Acre Exhibition at Jehangir Art Gallery, Mumbai. In 1994 he exhibited in the 8th Triennial at Lalit Kala Academy, New Delhi. In 1995 he took part in a group show at Jehangir Art Gallery, Mumbai. In 1995 and 1997 he participated in People for Animals at Park Hotel, New Delhi. In 1998 he took part in Contemporary Artists in India at RashtriyaLalit Kala Akademi, New Delhi. In 2000 he participated in BangaUtsav 2000 in Calcutta. In 2001 he participated in a group show at Art Indus, New Delhi. From 2007 – 2015 he participated in the annual exhibitions of Sanskriti Art Gallery, Kolkata. From 2011 – 2014 he took part in the annual exhibitions of Gallery Kolkata. From 2013 – 2015 he participated in the annual exhibitions of Gallery ICCI. From 2014 – 2015 he took part in groups shows at Nitanjali Art Gallery, New Delhi. He took part in group exhibitions at Greenwich Citizen Art Gallery and Ipswich Art Gallery, U.K. In 2015 he took part in a group show at Artist Center, Mumbai. In 2016 he participated in a group show at Jehangir Art Gallery, Mumbai. Debabrata has participated in several workshops: He took part in the Calcutta Artist workshop by Max Muller Bhavan. He participated in Terracotta workshop at Arts Acre by Lalit Kala Academy. He took part in Woodcut Print workshop by USIS Arts Acre. He participated in Graphics workshop by Alliance Francaise. He took part in Calcutta Sculptors Camp in Jaipur. From 2013 - 2016 he took part in Gallery Sanskriti Art Workshop, Bishnupur. From 2006 – 2009 he took part in the Annual Exhibition at Sanskriti Art Gallery, Calcutta. He has received several awards: In 1997, 1998 and 2002 he received an award from AIFACS, New Delhi. Debabrata lives and works in Kolkata.
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According to a critic, \"Jaya stands apart and single-mindedly continues to paint the kind of pictures that distinguishes her from being a mere performer. This is due to her commitment and serious approach to her work.\" More than any other thing that one can notice about Jaya is that she represents a generation which confronts contemporary art with individuality and daring. Her pictures bring into view her own style and she has her own imperatives. In the world of art, Jaya\'s work stands out for its obvious concern with the aesthetics in art rather than commercial success. She is rated as one of the top painters and front-runners of the Bengal art scene that has produced some of country\'s finest talent. Powerful and enigmatic figures that brim with earthy energy, raw and powerful. Jaya works with broad and sure brush strokes done in a spectrum of rich colors. The sure color strokes stand out and her work evokes the feeling that the world is full of organic tones that seem to breathe with a life force of its own. The figures look massive and primitive, voluminous and these qualities give her figures a distinctive character. Dark men and women sitting in a closed world of their own seem to brood, looking into themselves with an enigmatic air. Her figures have structural compositional values and they seem to be full of tension and force. Jaya Ganguly asserts that she is not a hard-core feminist, but being a woman she looks at the world with a woman\'s point of view. Her work seems to be about men and women both, as one cannot be without the other. Women from orthodox and bourgeoisie backgrounds, women who survive a monotonous and placid existence are a part of her pictures. They not only show women are oppressed, but also the men who live around them are suppressed with outdated beliefs, rituals, convention which bind the bourgeois society with high walls all round. The depth, intensity and even wisdom of the ordinary subjects living ordinary lives in her paintings have been commented upon. Jaya attracts and repels at the same time, her figures are lethargic, unfathomable and deep, victims and survivors. Her canvas radiates volumes of energy. Her color, line, form and moving mass, thick and voluminous figures. The physical energy felt with excessive overtone turns into primitive force. Jaya Ganguly\'s multiple laying of line and color is interesting. An element of surprise in her work is the quasi-abstract quality. Black and indigo add dynamism and highlight the work. Jaya says her paintings are a strand of thought. A product of Indian Art College of Kolkata, she has had a number of shows in New Delhi, mumbai and Kolkata including the festival of India in Sweden in 1987.
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Samir Aich is a tireless experimenter and has been busy accomplishing apparently impossible things. He has sought to \'figurate\' abstract concepts such as the primordial force of Nature, or its earthly counterpart, the animal spirit. Earlier on, his work depicted these concepts in the shape of a variety of awe - inspiring imagery. Such depictions of elemental mass and energy provided the viewer an initial cue to the inner world of this indefatigable painter, he soon shifted his plane of visual expression by endeavoring to accomplish another near impossibility, namely articulating in terms of the black pigment covering virtually the whole of the canvas space. One finds an echo of what the great Turner had tried to do when he wanted to picturize the night itself. The canvas is first uniformly painted and light is then introduced onto this surface by regular patches of white, green, red ochre’s and then effacing it, which are then usually successively veiled by later application of dark but transparent wash. Like toned varnishes, these subsequent patches not only reduce the whites and make them recede in shadow, but their liquidity responds to the material texture of the canvas and curdles into the weave and seductive lines, restoring its physical presence. The other part of the oeuvre is in his extraordinarily sensitive modulation of tints and shades. After having reduced his colour to no more than a scale of values, he pursues tonal painting with fervour and discipline valourizing the activities of his mind, evaluating, weighing and balancing the relative strengths of all that it encounters in its search for order and the unresolved complexities. The erased areas between them have taken on a new resonance that pushes us to the figurative markers. The paintings work best when the salient elements are all held in tension on the same plane, with no element appearing to overlap or underline any other. This gives the paintings that quality of a world whose contents might be said to be suspended in a simultaneous presentness of being. The flat paint body seem less important than tone, an effacement of one layer followed by another setting a vector, shadow set against deeper shadow, Aich plots the position of objects around the nudes, marking the points where their forms reflect, intersect or overlap, the frame within the frame diverges instead of converging. Humans float through his works in gay abandon with a fluidity assuming now one form ,now another illuminating areas as vivid streaks of lighting descending into a light drizzle, a kind of lunar aesthetics grow on the viewer as our own experience abides in another pictorial space. A critical reading of Aich’s drawings, paintings however might lead one to define them being as pictographically expressionistic- a faithful adherence to expressionistic- figurative markers, seemingly innocuous portrayals of still objects and at times a mingling of both on a single canvas, is not to be viewed simplistically as work of an incurable romanticist that yields several possibilities, in turn giving rise to polemical queries that demands a sort of substantiation. A previous figurative series takes into account the complex manipulation of space in his works- large areas of a flat delineation of pigment act as a catalyst to the simplification of techniques to a form of abstraction.
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Born in 1887 in a small village in Beliatore, Bankura district, West Bengal, Jamini Roy joined the Government School of Art, Kolkata in 1903. He began his career by painting in the Post-Impressionist genre of landscapes and portraits, very much in keeping with his training in a British academic system. Yet, by 1925, Roy had begun experimenting along the lines of popular bazaar paintings sold outside the Kalighat temple in Kolkata. By the early 1930s, Roy made a complete switch to indigenous materials to paint on woven mats, cloth and wood coated with lime. The inspiration for painting on woven mats was the textures he found in Byzantine art, which he had seen in colour photographs. It occurred to him that painting on a woven mat might make for an interesting mosaic-like surface. The Santhals, a tribal people who live in the rural districts of Bengal, were an important subject for Roy. A series of works done a decade before World War II is a very good example of how he captured the qualities that are a part of native folk painting and recombined them with those of his own. He fused the minimal brush strokes of the Kalighat style with elements of tribal art from Bengal (like that of the terracotta work found in the Bishnupur temple in Bengal, where terracotta was often composed into decorative units - some elaborate in design - over portals and across exterior walls of the temples). Roy\'s rejection of the then modern style of painting and his foray into the realm of Bengali folk paintings marked a new beginning in the history of Indian modern art. The mother and child, Radha, and animals were painted in simple two-dimensional forms, with flat color application and an emphasis on the lines. The main subjects were often enclosed within decorative borders with motifs in the background. The figure of the Christ was also a subject that Roy often painted. Roy held several one-man exhibitions and numerous group shows. His works can be found in several private and public collections, institutions and museums all over the world, including the Lalit Kala Academy in Delhi and museums in Germany and the United States of America. He was honored with the Padma Bhushan in 1955. Jamini Roy died on 24 April 1972 in Kolkata, where he had lived all his life.
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