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Frangipaniart and MontBlanc present Eclectic Dialogues from 25-27 June 2010

Eclectic Dialogues, From the rich repertory of Indian art or themes on which speculation and imagination has articulated in language, an astute mix of the subtle, abstract and figuration has gained breadth and resonance at various points of time. The art at Frangipani is reflective of an idiom essentially Indian in tone and affirmative of the intersecting affinities that merge the global with the local. Eclectic Dialogues is a manifestation of this converging expression through a resplendent display of works of three reckonable names along with three young upcoming artists. Rather than supplying answers, this exceptional body of work posits the possibilities of process reflective of the artistic integrity in face of the economic downturn. The precarious reigns of capitalism cannot hinder the act/ritual of aesthetic appreciation. Clive Bell has asserted that in order to appreciate a work of art we need bring with us nothing ‘but a sense of form and colour….Significant form stands charged with the power to provoke aesthetic emotion in anyone capable of feeling it.’

Beginning with the senior most of the lot, Jogen Chowdhury’s works are embodiment of artist’s choice of satire and grotesque over conventional norms of beauty. Iconic of a personalized idiom build out of localized Bengali influence, Chowdhury is known for infusing a poetical stance to his figurations which are much result of pen and ink drawings presenting us the black and white world. Some well-delineated, some vague and jagged, the contours for the artist are the metaphor of life as much as waves of yearning. From a predominant monochromatic scale, the transgression in the same assortment offers an artistic arsenal fixated with colours, reflective of the intrigue and fascination, Seema Kohli has for the cosmic cycle of life and venerations build around them. Kohli’s oeuvre manifests dimensions of an unconscious existence in the earthly and ethereal space. The journey which she defines is of her ‘inner self’ is akin to her creative trail. The quintessential motifs – curvilinear structures, circular spirals, intertwined shrubs and flora forward the artist’s journey towards liberation while the viewer clearly astounds in the invigorated pictorial surface. Jitendra Singh Baoni, another of the senior artists negotiates the internalization of his space with an assimilated consciousness of his experiences. The palette of orange that subtends Boani’s works keeps their moodiness cool. Slate and forest-hued nocturnes, threaded with tree trunks and other unidentifiable silhouettes, skirt the dour or bathetic in favor of a more ambivalent sentiment, akin to melancholy. The artist has shed some half-light on the nature of his painterly approach: a staging of vision partially veiled or blocked. Whether in twilight or partly lit up by the glare of sunlight, these scenes evoke emotions from his surroundings and life.

Jagannath Paul, Nityananada Ojha and Santosh C.H. are three young artist, adept in their respective mediums and raring in disposition. Variegated shades of visages weaving into each other grapple for attention, when one steals a snippy glance at the canvasses of Jagannath Paul. Working mostly within a restricted yet bold and defining palette of red, black, white and grey, Paul bestows a strong aura to these subjects. Angled in profile and a diagonal perspective, the schematic formulations shelve out of the main visage with eyes, nose and lips protruding out forming planes akin to the cubist and expressionistic renditions. Ojha explores materiality with the language of sculpture dispersing objects of an odd fascination in his artistic space. The object on which Ojha’s aesthetic consummation cultivates mostly approximates the abstract ethos associated with it. It could be a product of existential enticement or a generative narrative, this young artist has chosen to weave in face of his viewer. Santosh C.H. embraces reductive aesthetics to construct forms, whose meanings corroborate with the elemental quality of its building material. Desi bidi or accumulated stacks of coal, both maneuver to metaphorically assign the proverbial saying of ‘means to an end’.

The show is an amalgamated mix of ideas, mediums, narratives and the will to create and understand. We are now party to their hunt!

Suruchi Khubchandani

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