KS Radhakrishnan, A Spiraling Recall, Bronze, 26'' x 20'' x 16'', 2018

The Song of Small Things
KS Radhakrishnan

Art Musings is presenting a solo exhibition The Song of Small Things, featuring one of India’s most prominent sculptors KS Radhakrishnan at Jehangir Art Gallery. Radhakrishnan is recognized as one of the most significant figures of contemporary Indian art. The bronze works featured in this exhibition do not abandon themselves to any particular mind-set and yet they are mindful, like breathing subconsciously in peopled space. The characters of the compositions are undefined but nimble in their human movement and strung together in their common spirit of joy. Stemming from bases made of things that were used everyday a long time ago, these sculptures grow like feelings, touching off sentiments that we all want to re-visit. Each twist, each bend, and each formation is a story in itself, abounding in sheer exuberance. The creator did not have a blueprint for these works. He shaped them with the blues of childhood that kept invading his senses every time he set out to build on memories. The child in him has truly shown the way. One thing is evident from his works – childhood has no history because childhood itself is part of every human’s history.

Jayasri, Burman, Saraswati, Watercolour, Pen & Ink Paper, 48'' x 48'', 2006

Anjolie Ela Menon, Jayasri Burman, Maya Burman

Art Musings is presenting a group exhibition featuring acclaimed artists Anjolie Ela Menon, Jayasri Burman and Maya Burman. Anjolie Ela Menon’s works are from her Divine Mother series. Through the mastery of her technique, Menon creates images that come alive but continue to exist in an existential time-warp.  Menon’s paintings capture all the nuances and magic of motherhood. Menon’s protagonists are mythological figures as well as the ordinary people whom she portrays in her unique style. Her work is well known for the translucent textures which she creates by using thin glazes on Masonite.  Jayasri Burman’s art, derived from the rich tradition of Hindu mythology, has carved out its own identity. The imagery in Jayasri Burman’s work has a dream-like and lyrical quality. Inspired by Indian folk element, the works have a unique sensitivity. Her deep-rooted understanding of Indian mythology, Bengali culture and tradition does not escape her artworks. In her paintings one sees the careful repetition of the surface, unwavering and exquisite, with layers of cross-hatching darkening her skies and the textures of fabrics adorning her characters. Maya Burman’s series of circular watercolour paintings are peopled, made up of characters that live in mythology and metaphor. Her figures float through fields, their bodies curving with the shapes of the landscape. Patterns weave and float around the central forms evoking a sense of exuberance and joie de vivre.  Maya creates a dreamlike fairyland in her paintings. The striking thing about Maya’s paintings is the amount of detail in them. Burman’s paintings have a tapestry like effect where everything is subordinate to floral, decorative patterning, reminiscent of the French art nouveau tradition.


A Solo Exhibition of BAIJU PARTHAN

Art Musings presents Ray Trace, a solo exhibition of Baiju Parthan, showcasing a range of the artist’s lenticular works. He is one of the early exponents of new media art and mediatic-realism in the Indian contemporary art scene. The works on display are a combination of 3D graphics and lenticular printing technology. The process involves sculpting and modelling in three-dimensional virtual space using 3D software tools and presenting the result as stereoscopic prints that evoke the illusion of three-dimensional space and movement. Parthan’s vocabulary consists of arcane symbols, found imagery, as well as contemporary photographic and computer-generated imagery that are woven together to create artworks which reveal a dense multi-layered phenomenological landscape. Works on display include Parthan’s iconic series including Monument (2011) and Terminus (2017). These works belong to a series of new media works that re-imagine historic landmarks and the cityscape of Mumbai, by staging a virtual event that would impact and alter the viewer’s memory and recollection of the actual landmark, suggesting how the virtual could affect and alter the real.


Raghava KK, Sublime Machine - VIII, Acrylic on Canvas, 62'' x 80'', 2018

Sublime Machines
Raghava KK

Art Musings presents Sublime Machines, a solo exhibition by Raghava KK. In his artwork and his invented media, Raghava figures the notions of transcendence and sublimity for our time and its future. In this latest series of artworks, Sublime Machines, 2018, he imagines scientific reality as a source of the sublime, reinvesting the sphere of science with emotion and human intent. Raghava was inducted into the National Geographic Society in 2013 as an Explorer for pushing the boundaries of scientific exploration through art. Artistic creativity for him is a deeply decentered enterprise shared with the users of the artwork, which is evident in his numerous collaborations with other artists, technologists, corporations, educationists, scientists, academia, etc. His lectures, including 4 TED talks, are known for inspiring his audiences to expand their social and psychologically settled selves using art.

Date: 16 March – 12 May 2018



KSHITIJ An Exhibition of S H RAZA

To coincide with the 96th birth anniversary of Padma Vibhushan SH Raza, Art Musings in association with the Raza Foundation is showcasing his paintings, as part of the ongoing Raza Utsav. Kshitij which opens on 22 February 2018, will showcase works from 2011 – 2015, in a week-long exhibition.

In the course of a career spanning nearly eight decades, Raza dedicated himself to a quest for vital forms that conveyed his earliest memories of landscape and cosmic expanse, language and silence.  To Raza, the painting was akin to the meditative practice of Japa, the fully-engaged repetition of a mantra, deepened and concentrated into a pathway of energy.

At its deepest level, Raza’s art is distinguished by a profoundly hymn-like quality: it is charged by the constancy of prayer. It is a form of enunciation that reaches into the heart of that vast silence in which all sound is absorbed and from which all sound emanates. This is the true meaning of the dark plenum-void, the Bindu, which resides at the core of Raza’s art. The ‘Bindu’ has become more of an icon, sacred in its symbolism, and placing his work in an Indian context.