The boundaries of the mediums are intelligently merged and meaningfully redefined to engage in artistic creativity, an art exhibition reviews

Art Exhibition India Ashok Art Gallery

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Orissa is a land of multiple cultures ranging from folk to tradition to music and dance forms and many more. The visual art has been strong at the traditional level while modern contemporary art is striving for a place in cultural space. The fact that Orissa has two recognized art colleges with valuable exponents but due to the misplaced understanding at the local level, the entire environment is affected. The contemporary artists have taken their stand to propagate artistic issues since long, at least for last fifty years. But the expositions are limited to the artists rather than getting closer to the social community. The problem seems to be lying with the communicating values. The state non-cooperation and their limitations to foresee the present and future of the arts have taken disseminating position. Blame game is a strong culture that persists in the sphere by choice or otherwise. While taking stock of the matter, it seems as if one is addressing the politics in art. That is very much by chance, while the fact is no one would like to project a negative perspective of the communication, at least in a time when information technology has taken over the virtual space of interaction and art has become a substantial part of it. Well the artists have been trying to cap issues that are very much relevant and social. The present artists have somehow tried to create a positive feeling by coming together on singular platform to present their art with concern.

Art unfolds and the artists are approaching new avenues to interact. This time its the turn of many young and dynamic artists pulled together to exhibit in the Rashtriya Lalit Kala Kendra, Bhubaneswar. The group show was organized by the Ashok Art gallery (an International art gallery) operating from New Delhi promoting the art and artists. This is for the first time the young and budding artists and people of Orissa are privileged to view few international artists like Ruth Olivar Millan (USA) Thea Walstra (The Nederlands) Amna Ilyas (Pakistan). The show was scheduled between 27th February and 5th March 2009. Many artists those including the Orissan Master Chandrasekhar Rao, Baladev Moharatha, young reputed artists like Jagannath Panda Pratul Dash, Ramakanta Samantaray, Adwaita Gadanayak, Sitikanta Pattnaik, Pradosh Swain, Subash Pujhari, Manas Ranjan Jena and several others. Among the national artists are Dharmendra Rathore, Hukumlal Verma, Ramesh Tardal , Vinod Manwani, Indu Tripathy, Sanjoy Bose those have placed themselves in the global platform also joined the show.

For last couple of months the art scene of Orissa seems to have upgraded its activities to keep pace with the time and need. City’s art calendar has seldom been so active.Several exhibitions, Film Shows, camps and symposiums have been organised up to update the young artists with the latest global developments. This exposition truly reflected the global ideology while representing the local. This can mean one thing. Bhubaneswar is fast growing as a metropolis, said Minati Singh of TOI. The signs are quite clear and the trend of the art market has been growing over the past few year. A good number of artists and art aficionado have got into a habit of visiting art galleries have also come up to hold exhibitions in the city with an aim to popularizes love for art and create an art market. The rationale behind these exhibitions is to bring the potential of these local artists under one roof, alongside some of the noted artists of the state. This exhibition will help market the works of these small-time artists. Speaking about the camps, Ashok Nayak from New-Delhi based Ashok Art Gallery says, “earlier art camps were organized only by Lalit Kala Akademi. Since the AKademi has its own limitation, other organisations have started top take initiative to place the artists under one roof through camps and other similar events”.

The gallery organized this international exhibition of more than a hundred art works by eighty four artists comprising of paintings, drawings, sculptures, photographs and installations here on Friday at the Lalit Kala Akademi. “There is demand for genuine artworks and the buyers are choosing to invest in art. They are searching for fresh venues to explore the right art and therefore, we must organize regular art shows, camps and exhibitions so that chances are created for the better selection,” Mr. Nayak said. In this exhibition, he added, “we brought artists both renowned and aspiring, from all over the world so that the creative gap is lessened. Most of these have dealt with issues of major political and social concerns. Adding to the flavor of the exhibition the corporate houses have offered their patronage to the event. “Patronage is essential to the growth of art. Now the time has come when the government should invest in the growth of public art and earmark some fund for it. A growing city like Bhubaneswar has all essential facilities for it. The corporate houses and other private sector should join hand to make the difference feel to the citizens of this city”, said Ashok. Kanta Kishore Moharana, another artist said,” I am not worried about selling my sculptures. I want people to just come and have look at my creations so that they get a feel of them. The new trend has come up these days to combine sculptures with other from of art in a single item. So I tried to mingle them with my sculpture.”

“Art has never known boundaries. It just captures viewer’s attention through colours, images and expressions, each work saying something different and important. The mystique nature of contemporary art comes alive in the work of Nederland based artist Thea Walstra’s brush work on canvas showing a looped bright light in vermillion shades as in Sajal Patra’s acrylic work where a woman stands in front of a locked door. Pratul Dash’s water cololur on paper brilliantly brings out a scene of crowd while Tapan Dash has used dry pastel on paper to produce a thought provoking face. Sculptor Biswaranjan Kar has shown his efficiency in painting, again based on his continuing work on Olive Ridley turtles”, a city based Art Critic Namita Panda said.

Exhibited at the international art exhibition of painting, drawing, sculptures, photographs, and installations these paintings stood alongside almost a hundred more of similar brilliance artists like Amna Ilyas from Pakistan, Ruth Olivar Millan, Adwaita Gadnayak, Gauranga Bariki, Sitikanta Patnaik, Jagannath Panda, Pratul Dash, Tapan Dash, Gadadhar Ojha and growing ones like Pratap Jena, Ajay Mohanty, Somanath Raut, Manas Moharana, Subash Pujhari and Kanta Kishore Moharana.

The art tradition in Orissa is so very strong that artists adapt the visual elements with subtle changes to suit contemporary makeover. In the case of Ajay Mohanty, one could easily consider these remains. They have emerged with subtle aesthetic layers with focus on the compositional patter. Stylistically different though but the gestures and colour have strong reference points. The only deviation perhaps is that of the space treatment and that make it visual strong and appealing. The present form of Anup has travelled long beyond Bihania and the transformation has remarkably shown up. The synchronization of the butterfly, the mystery and the illusory impact of the veil underlines the invisible face with intelligent symbolic. Gadadhar Ojha’s Sans Titre holds the clue to the textural adventure and the space arrangement. The marble images refer to the Indian concept of bindu and vistara, a concept that deal with the centre and the periphery. The coordination that necessarily speak of the relationship in interface: the globe and the India, the local and global and its likes. Hukumlal Verma’s image is a simple play of colours and its definition in overlapping pattern.

Indian contemporary art has now started evolving new paradigms and several artists have been relocating themselves in the present context. The boundaries of the mediums are intelligently merged and meaningfully redefined to engage in artistic creativity. Emotion and expression are charged with intellectual input into and outside the civilisational aspect. Jagannath Panda is such an artist who has overcome the restraint of time and space with the medium. Environment and human relationship gets attached to the expressive medium. The overlapping planes represent timeless narrative with the man calculating the journey through its triangular device locating its existence. It seems to be an endless calculation in the background. The triangle shows the past , present and future coinciding to the three angles and the human race to achieve all in one go, finally failing to synchronise the ends. The compartment below derives the sky and its relational value to the upper segment. Pratul has sensitively arranged a human-scape with photo-dynamic. The composition seem to have a sense of social congregation. He might be nostalgic with the terror strikes in Mumbai and initiates the unique oneness of the subcontinent. Tapan continues to draw with his mask(y) faces with layers of personality hidden within one self. This reality has surfaced with the racial competition to win over the world, every one individual trying to over do the other and justify the presence. This could also hint at a psychological value of human existence. Pradosh Swain has semantically drawn the earth through the bird image; upper part of the image beautifully interprets the sky with the runway at the background merging to the vistas, while the lower part reflects the dry land beginning to beg its fate looking at the past (which might have just saved its life). It is a sensitively created piece referring to the misbalance caused by human to nature.

Ruth is different and direct, creating a equilibrium between form and affection, of desire and achievement. The simple expression of the child and the mother is derived from life and diligently put forward on the canvas. And Shekh Hifzul is narrative in his form and composition, decorating the image with subtle rendering of designs and trying out mythical representation with a wing (?). In this couple, male has the wings of desire and freedom remaining at the upper band while the female share its presence delicately supporting the figure. Thea Walstra speaks about the laser interactive rays those radiate to unite and spread around like dvani (sound), glowing into the cosmic sphere merging into the air and bringing back the sound to the ears, with the same transparency and layers.

There has been huge footfall and the viewership has widened to family people and youngsters too now. In fact many of the displayed works were bought as well. The weeklong exhibition that concluded on 5th March 2009 also included a work by the immortal art guru Chandrasekhar Rao and present master Baladev Moharatha. Though too huge for a viewer to absorb all the creations properly, almost every form of the art was present at Lalit Kala Akademi Regional Centre. One could easily find his interest as a number of subjects like environment, nature, society, beauty, spirituality, culture, and many more were included in various media like metal, wood, marble, fibre, rock in sculpture and pastel, acrylic, mixed media, water colour, graphic in paintings. This exhibition is a venture projecting the insider and the outsider to and from the subcontinent and more so in Orissa it would definitely make sense as they all bring different vocabulary on one platform. Ashok Art Gallery has done this in Delhi before and now presenting this to the Orissa audience, and hopefully they will cater to the creative desire of the young state art forum. What we need is reasonable spirit and appreciation of the art situation today, because we live in the present and need to keep pace with time. More such exhibitions will expose us to the global happenings. This first exhibition of its kind will definitely work as a catalyst for future.

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world’s most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists.Last year we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India 2008 Mumbai and India Art Summit 2008 New Delhi.

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Fantastic responce from Art Market to India’s first international Art Fair

The recent Art Summit was the Indian art scene’s attempt to climb a new rung in its international aspirations

An astounding 10,000 art enthusiasts walked in to witness India’s First International Art Fair, India Art Summit(TM) 2008, firmly establishing it as a one stop destination for art in India. With an overwhelming mix of art collectors, artists, critics, curators, students and art enthusiasts from across India and overseas, the Summit achieved exactly what it set out to – making art, and the knowledge of art, accessible to a widespread audience.
Commercially speaking, the fair clocked in a record sale of approximately 50%, with the 34 participating galleries selling over 280 artworks worth Rs.10 crores approximately. Given that the total value of the 550 artworks on display was approximately Rs. 20 crores, India Art Summit has emerged as one of the most successful first editions of any art fair across the world.
With all eyes now on India, event producers Hanmer MS&L, have announced plans to schedule India Art Summit 2009 between 19th – 22nd August’ 2009 in New Delhi. Next year, the fair is proposed to be over three times bigger and applications are already pouring in from across India and world. While in the first year, the focus was largely on Indian art and Indian galleries, the second year will see participation from galleries across the world showcasing a sizeable array of artworks from different parts of the world.

Ashok Art Gallery is a five-yearold Delhi gallery that largely functions online. A mom-and-pop operation with a handful of unknown artists, Ashok Art Gallery has never had any exposure in the media. Their only previous art fair experience was with the Mumbai art expo earlier this year. As one among 35 galleries that participated in the recent India Art Summit (between August 22 and 25), Ashok Art Gallery did not expect to become frontpage news. But their 27-year-old Oriya artist Kanta Kishore’s marble sculptures of rolled-up newspapers were sold within hours of the fair’s opening. Gallerists Ashok Nayak and Kavita Vig, Kavita’s husband Bharat and septuagenarian mother-in-law watched astonished as the art young Indian superstar Subodh Gupta and politician Maneka Gandhi came to their stall. And in their wake, thousands of visitors and the press.Sculptures and installations sold almost as well as paintings, signalling a new trend. The panel of speakers and choice of topics at the Art Forum also drew many accolades and was deemed as amongst one of the best such initiatives of its kind, internationally.

Mr. Sunil Gautam, Managing Director, Hanmer MS&L commenting on the fair said, “It is great to see that India Art Summit has emerged as the most inclusive collaborative art platform in India in it’s very first year. We believe that this initiative is a step in the right direction to put India on the global art fair circuit.”
Commenting on the success of the fair, Mr. Philip Hoffman, Chief Executive, The Fine Art Fund said “The Indian market is very important in the global art scene and this fair is a major step. I can imagine this to be major fair in Asia competing alongside London, Miami and Basel in the next 5-10 years. The sales results of the fair seemed very impressive by comparison to other fairs in their first year.”

India Art Summit – Backgrounder
The art fraternity in India has for long felt a gap and the need for a collaborative industry platform in the country owing to the phenomenal growth and global interest in Indian art. While the art fraternity the world over gets numerous opportunities to interact and collaborate through various art fairs, biennales & expos, there was no such platform in India. Therefore the time was right for India to offer a suitable platform for art. The initiative has received invaluable recognition and endorsement from the Ministry of Culture, Government of India and Sotheby’s.
The Summit hopes to achieve the dual purpose of, on one hand, serving as a window for International collectors to get a single access point to Indian art and, on the other, exposing the Indian collectors to a range of global Art that will be showcased at the fair in the coming years. More than just a place for buying and selling art, this initiative will enable diverse stakeholders from India and around the world to come together and discuss the creative and commercial aspects of Indian art.
Today, Indian art is greatly appreciated both internationally and within the country, annually growing at 30-35%, the Indian art market is currently worth Rs 1500 crores. The Indian art market has gone up by 485 percent in the last decade making it the fourth most buoyant art market in the world. The total auction market size of Indian art has changed from US $5 million in 2003 – just five years back – to nearly US $150 million this year.

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Young Indian Sculptor at LAPIDIALES!

Since 2000, a French artist, Alain TENENBAUM has opened “LES LAPIDIALES” (in Latin, “lapidis” means “stone”) to artists. This place is opened all year long but it is better to come between May and September: the residence program begins and during 5 months and you can meet artists from France and all over the world (Turkey, Russia, Zimbabwe, India) who come and work during some periods of two months. They work “in situ” according to one of the five themes of the site: water, the surface of the earth, the depths of the earth, the air, the fire.They work all day long, like quarrymen did before, but they have another aim: the transformation of stone into contemporary works of art.

It was in 2006 that Gadadhar OJHA, the only young Indian sculptor living in France, has heard the first time about the LAPIDIALES as he had participated to the 1st International Symposium of PEZENAS (in the South of France). 13 artists working on the unique theme “Message of the Body”, but amongst these artists at least 4 of them knew already the LAPIDIALES. And it was enough for Gadadhar OJHA to have the will, the desire to go and see how it was: working in an old quarry, what a strange and wonderful project!
In September 2006, like every year, during 3 days, this was the “closing session” of the Lapidiales, so we came and met everybody: organizer, artists, and … the site! And this is how it comes … Your work is your visiting card, you are invited by one artist who had worked before (one artist can give two names of new artists), then you learn some weeks later that you will work at the LAPIDIALES, says Gadadhar OJHA.

Gadadhar OJHA has worked in 2007, during May and June, on the part called “in the depths of the Earth” … Two months in the part of the quarry where there is less light, where there is more humidity, where it is more cold, where people who come could not see you, because there are so many caves, so many ups and downs, that visitors forget to go to see where artists work what could be the dark side of the existence.
But in the depths of the earth, you don’t know how life could be also interesting: first, when you enter on right side, you are invited by some gnomes surrounded with strange friends with strange smiles who invite you to one library where you find old books, and crane, and candles, and another crane, and an old pair of shoes (maybe from the artist of or the ones of the skeleton, lying there, waiting … ?). More far still in the right side of you, you can already seen (mistake, n to delete) also one big mouth with one woman emerging, from the throat, one big chain, you could be scared, but it is impossible because in the middle you see something else that show you the poetic part of existence.
Upon on huge black wall, suddenly you see one beautiful and peaceful human being, man? Women ? who knows ?, emerging from one lotus flower, showing to our eyes his/her half-nude body, the other part made by flesh, guts, intestine, heart, lung, brain … And in the center, one flower.
But there, it is impossible to be afraid, because, you know that from flower comes life, that this wonderful human being born in a flower gives birth, at his/her turn to another existence that from the depths of earth came to existence.
Suddenly, in the dark, you could see light, because slowly your eyes get used to this place, you can see also the structure: this personage is filled by horizontal lines. Those lines that follow you since you open yourself to life: the horizontal line that guides you to the sun when you wake up in the morning sunset SUNRISE, the horizontal line when you begin to write, the horizontal lines when you begin to learn. Lines that give also movement: is not a drawing a complex of lines jointed together? There, the lines give movement to this body, and even in the dark, light is caught by these lines. Come and see this strange vision with candles around him/her … Shadows will make the body dance, will make the flower rustle … and maybe, you will be able to see life in the depth of the earth? Those lines begin from the stone to go back through the stone. But where are they going? Gadadhar OJHA has all the answer at his work. And when I asked him Don’t you ever get tired? He said, “I never do anything that is not in my nature. You don’t ask the wind whether it gets tired of blowing or the sun whether it is tired of shining. This is because they don’t do anything that is not in their nature. And the thing here is that there is not pretension. There is no covering up of a mistake. There is no point in trying to appear as someone you are not. These are the principles that make my Art very strong.”
And when we lead through such examples, through our own lives, it becomes really effective in other’s lives also. People are moved by people, not just by principles. It’s a ripple effect. Gadadhar OJHA lives and works in Paris.
Contemporary Art Review: Ashok Art Gallery

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S.H.Raza at inauguration

from a palace…
On the eve of 50th year celebration of Indira Kala Sangeet Vishwavidyalaya, Khairagarh, Chhattishgarh, India ,53 artists from visual art faculty who were studied their Fine Art from this oldest Indian Art Institution has displayed their exceptional works at Rabindra Bhawan Galleries II & III ,World renowned eminent master S. H Raza and Eminent Indian Poet/Art Critic/Writer Sh Ashok Vajpeyi has inaugurated the show When you walk through the gallery, you will find Ajay Kumar Mall has worked on the speed and intensity of his brushwork to create abstract oils on canvas while the ‘Green Landscape’ by Hukum Lal Verma displays a celebration of colour and line. Elements from the landscape begin to disintegrate with its remnants in the title. Spontaneity of working in the outdoors brings about the need for speed with the application and the inevitable breakup of the form. In the lucid watercolours of the landscape by Anil Khobragare, transparent pigments look for spaces to hold on to the paper in a play of flow and merge in the painting process. Struggle for space and control comes forth in the acrylics of Devasis Mukherjee, as the birds seem to find a way to synchronize rhythms of existence among themselves. Girja Kumar Nirmalker delineates and engages pigments in indicating abstract spaces within composition while landscape remains in the hidden strata of the painting. Jiten Sahu works on constructing the urban landscape in a series of buildup activity across the canvas. Freedom of the display of brushwork remains in the periphery of the constructed space. Looking for purity of colour in the abstract, mixed media works of Mahesh Sharma engages in not looking for the definite and the orderly, rather the build up of pigment forms the base for developing the work.Fleeting moments manages to manifest in the abstracts of Yogendra Tripati in a residual of earth colours that play every so light on the canvas. Elements from the landscape remain in the works of Manish Verma with an alluring content for transition into the abstract. Retaining colours of the earth, the acrylic works modulate to the circumstances. Shubra Chand also works on this transition with layering of pigments. Fields of colour are set against each other in the work of Prabir Kumar Dalai. The formations allow for brilliance in colour to make representations across the fields. Using dry pastel on paper Rajesh Mishra indicates flowing lines of the dancers in an attempt to capture the moment of action in ‘Khairagarh’. In the rush for existence, evasion of death seems to be the moment of realization in the work of Sukant Dev Burman. Futility in the exercise seems to be the prediction of a parrot in contemplation while a dove tries to stabilize the present. Destiny in the hands of the richness of environment is taunting enough to be in the outdoors, away from comforts of the home in the painting of Sunita Verma. Symbolic in representation, the chair makes up for the absence of the household.

Relishing in the possibilities of transformation, the chance for a new world that could take one into the imaginable, the harmless soldier stands in readiness in the fusion of the real and the unreal in the work of Adhikalp Yadu. In similar terrain, Anup kumar Chand looks for transformations in the chance for that change in reality of a consistent regularity in the environment. Anant kumar Sahu ponders over the world order in the etching ‘After Third Worldwar’. Frailty of lines in the etching drives home the situation in such an event. Aspirations in the form of a flower come in the etching by Khemlata Dewangan in ‘Dream Flower’. The jaded sunflower looks up to the challenge in the present set of circumstances as the individual is caught in a vortex of the dream. In the dreaminess of the landscape, the painting by Malay Jain allows for another side of the landscape, not necessarily in the real. ‘Soldiers after a War’ by Mahesh R. Prajapati repeats the introspection of the individual caught in the cacophony of war. Etching and serigraphy allows for fields of hard, opaque colour in combination with sensitivity of the line.

Symbolic and the representational find its place in the prints of Rakesh Bani. The beast has its ways of instilling fear and control over frailty of the mind. With a limited use of colour, the work gets accentuated in its scope of an expanding vision. Spatial play gets mingled with the symbolic in the work of Tikendra Kumar Sahu with dog days open throughout the year to make a livelihood for comfort as Sharad Kumar Kawre explores the representational through the digital medium of printmaking. Sheikh Hifzul makes use of transformation of imagery in the ‘Kiss-III’. Decorative elements and motifs adorn the masculine and the feminine in an intimate moment of the imaginary. Use of adornment continues in the work of Sankar Sarkar in ‘Gold Show’. Looking for an intervention into the consumerist pattern of the present day, the subject is laden with showpieces that have questions on its origins. In an intervention for a social cause, ‘Last drop” by Sajal Patra makes a statement about non-availability of a basic necessity for sustenance. ‘Camel’ by Ravi Kant Jha extends the possibility of tranformation of the subject for relating to a thought, in this case being a performance. An untitiled etching print by Rabi Narayan Gupta captures a vivid cacophony of imagery of torment. There’s a search for redemption in the midst of such chaos and vulnerability. In the midst of these works is a painting by Ritesh Meshram that allows a seemingly innocent play of line and colour.

‘Five Friends in B.F.A’, an Etching by Mukti Agarwal is open to interpretation as a set of 5 birds gaze in extreme numbness. The quality of printmaking comes through in the work of Priyanka Waghela under an overlay of acrylic paint. Floatation of the subject plays with a compositional necessity of the work. Amar Jyoti Sarma plays a ‘Mind Game’ with a set of coffee cups set against an individual in contemplation. Spatial play with the cups sets a sense of intrigue to the painting while the mask of a clown against a series of stairs in the work of Dharam Beer Kumar allows for interplay of meaning. A stylized cow is represented in all its readiness for a charming display along its path in a painting by Hareream Das. A sense of freedom and pursuit is seen embellished in the Bronze sculpture by Rajesh Sharma and Kishore Kumar Sharma.

This physical show will be on vew

at: Rabindra Bhawan Gallery, Lalit Kala Academy, New Delhi, India till 22nd of January , 2008 and it will continue till 15th of February 2008 at Ashok Art Gallery.Contemporary Art Exhibition Review : Ashok Art Gallery

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Contemporary Art News:Art Exbhibition Reviews

Ashok Art Gallery presents :

‘CONTEMPORARYINTERNATIONAL ART EXHIBITION’

Curated By: Ashok Nayak

november 2007

india habitat centre lodhi road, new delhi, india

 First time in Indian Art Market, presenting the most debated women artist from Pakistan Amna Ilyas , the young women painter from Udhampur who is drawing a lot of attention, Kanchan Verma , the lovely lady with a amazing art skill from The Nederlands Thea Walstra and the eminent artist from USA Ruth Olivar Millan

All participating artists are : Amna Ilyas, Jayadev Biswal, Sanjoy Bose, Ajay Mohanty, Rohit Supakar, Pradosh Swain, Kanchan Verma, Kanta Kishore, Shiba Prashad, Sujat Pattanaik, Debashis Chakraborty, Ruth Olivar Millan, Sambit Panda, Anasuya, Thea Walstra

Ashok Nayak

Curator, Exhibition Director

www.ashokartgallery.com

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Sculpture review:Gadadhar Ojha

By inviting to create sculpture for our next proposed show,one of our mainline artist Mr. Gadadhar Ojaha,the only young Indian artist/sculptor living in Paris,France has updated me about his last year projects and all other completed works. Undoubtly sculptors have an important role to offer a sense of wonder and the miraculous to a world that lacks it.Artist Mr Gadadhar Ojha has said about his wonderful experience of working with all other international artists at paris.I have amazed when he showed me the lil video footage and photographs of his last work.Ahh..It is a huge Sculpture,the texcture,patterns and the overall contemporary forms are just superb. Although the decline of the ‘romantic’ notion of the artist and speculating about a new conception of the relationship between artist and society,but his works are contemporary figurative sculptures created in the expressionist tradition.Somebody argues that art is man’s defnese against insensitivity. Hehe, it’s clearly a comment on the lack of wonder and beauty in much contemporary art. The work never explicitly references walking, yet it invokes the physicality and psychology of this common activity. Small, sequential movements, each like the one before, create an impressive cumulative effect. Just as thousands of steps constitute a long hike.
Sculpture Reviews: Ashok Art Gallery

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