All About Art
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.
Vivek Abrol celebrating MF Husain's birthday by donating to Hazrat Nizamuddin Aulia Darga in Delhi
MF Husain is arguably India’s most recognised painter – by name and work. His angular edges gave him the nickname the Picasso of India, but they also called him the people’s painter and the barefoot artist.
His work in the 40s, when he co-founded The Progressive Artists Group of Bombay, was revolutionary. He pioneered modernism in India, along with Raza, Souza, Ara, Gade and Bakre.
Into the mind and soul of Vibha Galhotra’s massive art practice
Vibha Galhotra’s art is now more important than ever. Through her large scale works, often created on land and water, she raises some fundamental questions – Where do we come from? Who we are? Where are we going? Why do humans claim ownership over nature? Her work is a reaction to her observations of human behaviours - our sociopolitical, cultural and economic structures, and our relationship to the environment around us.
Tête-à-Tête with Jagannath and Pranati Panda
The Trance Narrative mainly focuses on and articulates the contemporary condition of the oppositions between development and greed, sustenance and waste, and between faith and science, which awakens other eyes as a circumambulatory element on a cyclic path. Time in Indian thought is not linear but cyclic. Thus, life plays out in infinite repetitive loops rather than following a progressive way. The role of witness and narrator (such as our Narada Muni, the celestial observer) is a vital one, for he is the observer and keeper of history and knowledge and also of wisdom. The witness of time is ever-present as a bird, beast, human and hybrid of a social narrative.
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…”
Image Credit - Bid & Hammer
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.
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 loved celebrating all the rituals and festivals performed in my surroundings; I was passionately and equally involved in the process of creation of the statues and the community celebrations. Curiously absorbing the sacred magical illusion in the fantasy and form of these deities, I attempted to create a narrative out of it. I never felt the existence of any glaring discrepancy between these different ideologies, so I did not have to build a bridge.