A Visionary life style
It makes great sense when the founder talks about the vision of her act. Know what makes Aashna to set up PozoArt and what it means to her. Watch the video to hear her thoughts about art and her goals.
Why should Art Focus on SocietyToday? Arunkumar HG explains
Last June, we completed one year of Swagrama. To establish sustainable values in rural India, Swagrama aims at strengthening the rural economy and creating awareness among the farmer communities regarding the chemicals. The rural workers eventually return back after failing to adjust to the urbane. And India has observed the shift to cities immensely.
ARPANA CAUR narrates anecdotes to Aashna behind her evoking artwork.
I had received a letter, in 1994, from Hiroshima Museum. For the 50th anniversary of the bombing, they had commissioned ten international artists. My work had been exhibited in group shows of Japan, around the early 80s, through NGMA. They were well-covered in media and Japanese newspapers. Consequently, in the exhibition at the Hiroshima Museum, they called me ‘Mr. Arpana Caur’ and I never tried to correct them purposely.
Aashna’s conversations with a curator, art historian, and art critic - Zehra Jumabhoy!
“The best thing was being young and in Bombay at the time of the boom years for Indian art. I don’t think I will ever have so much fun again. But, maybe everyone says that about their twenties? Neither ‘job’ really felt like a job – more a vocation (or a crusade), and I fear I didn’t think of my bosses AS bosses. They were more like friends, who I happened to be working for.”
A friend of the Abrol family - REKHA RAO HEBBAR
Rekha refers to herself as a colourist! Colour forms the core of her paintings, within which there are recognisable elements, whereas some are hidden. The viewer, however, needs to recognise emotion in the paintings as easily or naturally as one senses the passing of a breeze. Her works are often half-told tales, allusive, sometimes enigmatic. Of this, she says, “There is no need to look too eagerly for signs of the recognisable, but rather recognise an emotion as one senses the coming of a breeze…”
MANISH PUSHKALE Explains the purpose of "light" in his work to Aashna Abrol.
“I got the great impact of his art on my set, but I am more influenced by his philanthropy, humour, mannerism and unconditional dedication towards his art.”
Light is something which remains in the core of my works, but differently! It is not about the light which has been the focus of paintings, but what I paint is its antonym.
GIGI SCARIA explains why he employs houses and Mahatma Gandhi in his artworks
My focus on Gandhiji is because of his ideas and personality. In 2011, I was invited to participate in a curated show in England. They asked for a proposal on the topic of ‘What is the relevance of art in conflict?’. And I, who believes in non-violence, had proposed a concept concerning Gandhi.
VALAY SHENDE, one of the top #50 Indian artists, narrates his research methodology to Aashna Abrol
Valay Shende, a sculptor, and an alumnus of the reputed Sir JJ School of Art impregnates these prevalent concerns of society, world and life. Aashna Abrol enquires about his formative years, work and beliefs in devising ideas as well as the framework to convey the same.
Aashna’s interaction with Sunny Chandiramani-Vice President of Astaguru Auction House
I have always been a staunch believer in carving out one’s own path and having a unique style so the artist resonating with me is Ganesh Pyne. He had a certain set of principles and he stuck to them throughout his life. His originality appealed to me and I am glad to see him gaining recognition by art enthusiasts and collectors alike. Medium is an extension of the artist, as the aura of the artwork comes from the artist's intentions and imagination and the medium is just a tool for the artist to translate that thought onto a surface.
DHANANJAY SINGH EXPLAINS TENDRIL-STRUCTURES TO AASHNA ABROL
Published on 26th June 2020
JYOTI BHATT DISCUSSES HIS LIFE AND WORKS
WITH AASHNA ABROL
Published on 17th June 2020
AASHNA ABROL DISCUSSES SMILING FIGURINES
WITH KS RADHAKRISHNAN
Published on 11th June 2020
Residual to our memory
She had a preference for matte and satin matte glazes. She liked their mottled colour tones, she said. But she also sent some of her work into the fire kiln (as opposed to reduction firing in a gas kiln), and she let the ash and flames do a number on them. “[They] enhance the forms, so I let them be open body (without any glaze or glossy surface,” Architectural Digest has reported her saying.
6 March 1940 - 11 July 2020
Jyotsna Jyoti Bhatt
Artist of the month
I was fortunate to have been able to experience the stark contrast in the life of Varanasi, the land of culture and traditions and Mumbai, the city of dreams and desire, this has contributed a lot to my work as well. Varanasi had an everlasting influence on the mind, from dazzling blue skies to red-bricked ghats, deep blue water sprawling till the scarlet horizon, Varanasi has it all. I draw my vivid colours and bold shapes from my memories of the picturesque Ghats and the lanes. J.J, on the other hand, helped me in understanding the ‘art’ within me. My experiences at Sir J.J school of arts helped me in portraying an unadulterated and unaltered way of expressing my thoughts. I started expressing art in its purest form after my experiences at JJ.