- Ajay Lakhera
- Akshata Naik
Born in 1990, Akshata Naik is a Vadodara based artist, though she was raised in the city of Mumbai. She holds a undergraduate and master’s degree with two gold medals in painting from the Faculty of Fine Arts, Maharaja Sayajirao University of Vadodara (2014)
Akshata’s solo show includes her debut ‘A Piece of Peace’ by Artcore at ICCA Nottingham, UK which includes the works done during her residency at De Montfort University, Leicester, UK (2014)
This year again Artcore has invited the artist to unveil her new series of works in the show titled ‘Bloody Boats’ by Akshata Naik on 26th January 2016 on the occassion of Indian Republic Day at the Gallery, Artcore, Derby, UK.
The war of land and water and the continuous migration issues leading to the devastated lives of innocent each day has moved the artist deeply which she shows in her work through various mediums. Color red very significant in the work signifies blood. Artist herself heading from a city like Mumbai which has been prey to several terrorist attacks over the years and have stood by the strong hatred issues of the crowd over various reasons. She also reconnects herself with this crowd in Mumbai and then migrating to a city like Vadodara which is much silent and sober.
A room full of paper boats relates to how fragile a life can get. With this work she strongly puts forward the Syrian migrant issues and the loads of ships getting drowned. The sensitivity and insensitivity both play contradictory role at the utmost in the series ‘The Bloody Boat’
In this series, the digital prints and installation of work is an extension to her previous show A Piece of Peace which was held at the ICCA, Nottingham, UK by Artcore (2014) representing a series of work that displayed the images from Paris attack and digital collage of the attack on a school in Peshawar, Pakistan. These works were done while she was travelling at the same time that the attack took place in Paris and Peshawar for her residency in UK which deeply moved her as a traveler and a temporary migrant to a new place.
- Alok Bal
Alok (b. 1969, Orissa) studied commerce in Orissa, painting at Faculty of Fine Arts, Baroda.
He has had 3 Solo Shows, one of which was titled ‘Football Fever’(2006) and has participated in more than 50 curated or prestigious group exhibitions and auctions all over India, Singapore, Hong Kong, New York, London, South Africa; and Artists’ Camps in Egypt, Uzbekistan, Cambodia, Spain, Thailand and different places in India. He lives and works in Baroda.
My work: Is life reality or fiction? That is the big question. While it is easy to live with fiction, reality can be painful. In these two works, I have tried to show the paradox of our life, through the image of urban landscape which has been the subject of my interest for a while now. I have tried to show how we cheat ourselves and feel satisfied by dominating others. We destroy playgrounds and green areas by building over them and then grow gardens in the basements.
- Amanda Harker
Amanda Harker studied Fine Arts at the University of Central Lancashire, Preston (BA (Hons.), 2003) and at the Cyprus College of Art, Cyprus (PG Diploma in Fine Art, 2005, awarded a Bursary by Cypriot Ministry of Culture). She also attended the Acrylic Resist Etching Course in Derby (2006). She has had a Solo Show, Domestication, at CCA Gallery, Lempa, Cyprus (2005). She has participated in Group Shows in Paphos and Lempa, Cypurs, in Madrid, and in Preston and Derby, UK. She lives and works in Derby.Artist's Note on her painting:
Technological advancement has enabled globalisation. Its growth and flourishing aspirations are embedded in the circuitry of global trade. “The global economy challenges us to do more with less every day, a challenge both bracing and daunting”, writes Thomas Friedman. In the same way that wealth and health, hunger and heart disease, is a dual challenge emerging from globalisation.
"[slum schools] call themselves 'Cambridge' and 'Oxford'.. new India is united not just by a respect for achievement and yearning for a better life, but also by an unprecedented belief that such a life is possible," says Nandan Nilekani, former Chairman, Infosys Ltd., Bangalore, India.
- Antoinette Burchill
Antoinette Burchill is a visual artist, writer, performer and provocateur utilising alternative identities. She explores the idea of MisAchievement: achievement acquired by mischievous means. The artworks she creates are playful, edgy and provocative and are underpinned by a sense of adventure.
The garments and accessories we choose to wear enable us to create an identity, a character. Our choices indicate to those we meet what our interests, life-roles and cultural heritage are – even what era we belong to. All of which may be fact, fiction or an ever-shifting hinterland between those states.
- Apurba Nandi
Apurba Nandi (b. 1973) studied sculpture at the Faculty of Fine Arts, Baroda (MFA, 2000). His work has been a part of several prestigious and curated Group Shows all over India with galleries such as Art Konsult, Latitude 28, Bank-on-Art Gallery, Stainless Gallery, Art Room Gallery, Arushi Gallery in New Delhi, Hacienda Gallery, The Strand Art Room, and the Harmony Shows in Mumbai, The Emami Chisel Gallery, Kolkata, The Art Resource and Tangerine Art Space in Bangalore, and Sarjan Art Gallery and Red Earth Galleries, Baroda.Artist's Note on his paintings:
This work speaks of displacement. The repercussions of globalisation have been both positive and negative. I discuss the fearful aspect of our changing world. As the world is becoming smaller and things are moving too fast, people are turning a blind eye to various disasters and displacements which happen simultaneously with progress.
- Arunanshu Chowdhury
Arunanshu Chowdhury (b. 1969) studied painting at the Faculty of Fine Arts, Baroda (MFA, 1995). He received the Elizabeth Greenshields Foundation Grant, Canada (1995) and the Ravi Jain Foundation Award, New Delhi. Some of his recent Solo Shows have been at Sarah Khan Contemporary Art Gallery, Switzerland (Globalized Symbolism, 2010), Anant Art Gallery, New Delhi (Wind in the Willows, 2008), Sumukha Gallery Bangalore and Guild Gallery, Mumbai (Probabilities of Occurring, 2007-08), Red Earth Galleries, Baroda (But, are we ready to Alter? 2007), Bagash Art Gallery, Dubai and Guild Gallery, Mumbai (Simmer, 2006), Anant Art Gallery, New Delhi (Palimpsest, A Journey through Time, 2005). He has been a part of numerous curated and prestigious Group Shows in Beijing, New York, San Francisco, Singapore, Tokyo, Hamburg, Kolkata, Bangalore, Mumbai, New Delhi, Baroda, Indore.Artist's Note on his paintings:
My work focuses on the boundary-less experience like that enjoyed by a Dandelion (seeds) pollen, with a wandering mind and objects to carry along through journeys. We live in times where crossing over is just in the mind and physical displacement has become a formality. I cannot source my objects to their actual origin as they have passed through many journeys moving between time and place. Indeed one is in constant transit and glorification of cultures is all one can do to touch base.
- Atul Mahajan
Atul Mahajan (b. 1981, Maharashtra) studied sculpture from KPG Chitra-Shilpa Mahavidyalaya, Khamgaon, Maharashtra and Faculty of Fine Arts, Baroda. Received the Bodhi Art Award (2006), the Inlaks Indian Art Award (2006), the H K Kejriwal Young Artist Merit Award (2007), the Bendre-Husain Scholarship, Mumbai (2008). Invited for Artist Residency at Khoj International Artists Residency Program, New Delhi (2006), Bengaluru Artist Residency (BAR1), Bangalore (2008). Has been invited to participate in several prestigious Group Exhibitions and Artists’ Camps all over India. Lives and works in Baroda.
My Work: It is very truly said that life is a game. But do we really play a game each day? Is it an actual game or is it the spirit of sports that is inherent in our lives? My works are the portrayal of the energy a game produces, the depiction here is inspired by using the recent Cricket World Cup trophy which is the nation's pride now. The work, Untitled, is a very simple composition and the colours are subdued so as to highlight the main aspect of the game and the players. The small figures on the canvas are the players shown in various movements. The canvas is the ground and the players are trying to get near the trophy, to achieve it. But only the capable manage to get near it. These are also the qualities that we incorporate in our daily lives -- the competitiveness, and the fight to prove that one is the best.
- Ayan DeFirst
Artist's Note on his paintings:An African Clothes Dyer depicts a woman sitting down on a stool/box with a big pot in front holding a dyeing cloth. Her little boy is with her and they stir the pot together. On the bottom left there is her daughter who brings leaves from the farm to mix with ashes to make indigo dye. The use of leaves and ashes shows recycling and the patterns on the cloth reveal African traditions, culture, and heritage. On top left we can see her colleague also dyeing cloth and an African hut made of straw and poles/tree branches.
Elephant Family can be linked with globalization. It shows how elephants live together as a family. Dressing up the elephant in fabrics that relate to a human being's dress code points towards relationships/friendships between human beings and animals.
From this perspective one can see how human beings protect the animals in the bush from danger and train them just like humans for working, festivals etc.
Ajay Lakhera studied painting at Santiniketan (BFA, 2000) and Faculty of Fine Arts, Baroda (MFA, 2002). He has attended workshops with senior artists in glass painting, working with vitreous enamel, and been invited to an artist's camp in Cambodia and Vietnam. His Solo Show was organized at Arushi Art Gallery, New Delhi (2008). His paintings have been a part of several prestigious and curated Group Shows at Queen’s Hall Museum, New York (2007), in Singapore (2006), Mumbai (Baroda March in 2008, and Strands of Joy in 2009 at The Strand Art Room), New Delhi (Mapping Baroda at The Art Room Gallery, Harvest Show, at Arushi Gallery in 2007), Kolkata (Annual Show, Birla Academy of Arts and Culture, 2007, Artists Against Violence, Aakriti Gallery in 2009) and Baroda (Feb Group Show 2003, Red Earth Galleries, Works on Glass in 2006 at Space Artists’ Studios, Cutting Chai in 2009 at Sarjan Art Gallery, The Big Baroda Show in 2010 at Priyasri Art Gallery).Artist's Note on his paintings:
I am presently working on human behaviour and the role played by the desire for power. In "How long will it last?" the soldier as a symbol of dominion is undercut by a childhood mischief of tying somebody's shoelaces together so that the person would trip and fall, invariably landing on his knees, an attitude of surrender. The second work explores racial attitudes, the domination of the white man which is slowly being undercut by the levelling forces of globalization.
- Balaji Ponna
Balaji Ponna studied Graphics from Andhra University, Visakhapatnam (BFA) and Santiniketan (MFA). His Solo Show, The Things I Say was organized by The Guild Gallery, Mumbai in collaboration with Studio La Citta, Verona, Italy in 2010, and another Solo, Black Smoke by the same Gallery in collaboration with Bose Pacia, Kolkata in 2009. He was represented at the Basel Art Fair 2009 by Studio La Citta, Italy, at the Hong Kong Art Fair 2009 by The Guild Gallery, Mumbai and at the India Art Summit 2009, New Delhi by the Guild Gallery, Mumbai and Gallery Nature Morte, New Delhi. He was invited to show in the exhibition, Contemporary Exoticism curated by Marco Meneguzzo at Studio La Citta, Verona in 2009 and in the same year, to show in A New Vanguard, a group show organized by saffronart.com and the Guild Gallery at New York, and at the Print Biennale in France. He has participated in several important group shows in New Delhi (at Navsar Show at Devi Art Foundation, 2010), Big Picture in Bangalore (Sumukha Gallery, 2009), In the Midst in New York (Zamaana Arts, Tehresharan Gallery, 2007), Chronicles of the Unspoken in New Delhi (Travancore Art Gallery, 2007) and so on.Artist's Note on his paintings:
My work, “Looking forward to see you” series is the result of nearly a year-long indulgence and preoccupation with this concept, along with a sly humour which has been an intrinsic part of my work since my early days. The titles are significant acts in themselves, for through them I cajole people to look and observe my work in a specific manner, sometimes like almost filling in a blank.
Though the humour in my work might seem overt, it operates in a subtle and ironic manner often laced with serious sub-context. I usually engage with concepts, which are part of popular usage, making them more accessible. Initially, I was interested in transforming the forms which I have taken from immediate life, but now I try to keep the form intact and juxtapose it with text to generate multiple possibilities and meanings. The fusion of verbal and visual intentions is a valid means of achieving my communication intentions.
- Barun Chowdhury
Barun Chowdhury (b. 1971) studied painting at Rabindra Bharati University, Kolkata (Diploma, 1991), at Govt. College of Art & Craft, Kolkata (BVA, 1996) and print-making at Faculty of Fine Arts, Baroda (MVA, 1999). He received a number of awards as a student. He was awarded the Commonwealth Arts and Crafts Award sponsored by the Commonwealth Foundation, London, to travel to, work in and exhibit in the United Kingdom in 2003. He has been invited to participate in prestigious exhibitions such as "Kitsch Kitsch Hota Hai" at Gallery Espace, New Delhi (2001) and shown with well-known galleries in New Delhi, Kolkata, Mumbai, Bangalore, Baroda. His prints have been shown in international Biennales in Japan and France.Artist's Note on his painting:
In the past few years, my country has been a victim of terrorist attacks, bomb blasts, Maoism, political instability, all of which is topped by the recent economic setbacks, as part of global recessionary trends.
The Myth of Hanuman depicts trees without roots and with many trunks on fire; it looks like the preliminary stage of burning trees. The black-faced monkey with a burning tail and a empty water-tap in his mouth depicts the water crises, reminding one of Hanuman burning Lanka. Myth and memory are simultaneous for me. The bitter-sweet security of lives enjoying peace can be destroyed by one stroke often from unexpected sources.
Song of Life depicts a rabbit sitting on a human back bone with lot of hope. Orange coloured globes are a reference from Chirico's 'song of life' hanging in front of the Rabbit's nose. My works depict human relations and behaviour in different contexts, but are focused on the tenuous optimism with which common innocent people celebrate the spirit of life with a hope for development and growth in the future.
- Bhavin Mistry
Bhavin Mistry (b. 1983) studied painting at the Faculty of Fine Arts, Baroda (MVA, 2008) and is also well-versed in computer applications for graphic design, animation and video-editing. He has been invited to participate in Group Shows such as Cutting Chai at Sarjan Art Gallery, Baroda (2009), Feb Show 2009 at Red Earth Galleries, Baroda, Class of 2008 at Art Konsult Gallery, New Delhi, New Gujarat Contemporaries at Gallery Open-Eyed Dreams (OED), Kochi (2008), Art Within Reach at Samsara Art Gallery, Mumbai (2007). He was invited to participate at Digital Media Workshop at Uttarayan Artists’ Studio, Jaspur (2008) and at Vibrant Gujarat, an experimental art project in industrial space by Art Home, Baroda (2009).Artist's Note on his paintings:
The term 'globalization' means integration of economies and societies through cross country flows of information, ideas, technologies, goods, services, capital, finance and people. Cross border integration can have several dimensions – cultural, social, political and economic. But people often fear cultural and social integration even more than economic integration.
Nothing is an unmixed blessing. Globalization in its present form, though spurred by far reaching technological changes, is not a pure technological phenomenon. It has many dimensions including ideological. With all these tits and tats of Globalization with my recent work SEE SAW I have tried to show the complexities of Globalization. Though it appears to be a very well balanced kind of visual it has a system working behind it which is never stable.
- Clay Smith
"When you come to the Olympic Games in Beijing, you may not know that the flowers, smiles, harmony and prosperity are built on a base of grievances, tears, imprisonment, torture and blood". Teng Biao, a lawyer who lost his license protecting people that protested against forced evictions.The Beijing Games as well as any other Olympic Games held in Communist countries including the 1936 Berlin Olympics, are fraught with propaganda, exploitation, prejudices, human endurance and survival. From the Gypsy camps were they were kept during the Berlin Games, to Beijing's forced evictions, and the 1972 Munich Olympic Games massacre, politics can play a damaging role.
My work will highlight the structured mess of politics within the Olympic Games. It will represent symbolically, the deconstruction of politics in sport, and it will also represent the construction of human endeavour and endurance for both the people that are killed or are made homeless. Also my work will be dedicated to the athletes that compete not for the games but for the freedom of the people, in some sense of protest.
The works on display here are to highlight a sense of 'inflicted energy' that the hosts of the Olympic Games force upon their people. In recent times you had the Beijing Games, and we learnt about the forced evictions, tortures, and prison sentences imposed on the residents living near to the site of the Games. My work displays something quite destructive yet creative at the same time. A sense of energy that runs throughout the image, carves out an uneasy display of force.
- David Booth
David Booth is a Sculptor and Painter originally from Manchester, and currently based in Derby where he has a studio. David was winner of Derby City Open 3D Prize 2009. He was a finalist in Broomhill National Sculpture Competition 2010 and received sculptural commission for the Wirksworth Arts Festival 2010. David graduated from Derby University with BA(Hons) Fine Art in 2011.
My Work:Broken Heart (2011) Golf Tees
Exploiting the sculptural quality of multiple golf tees layered together to create a single sculpture with figurative potential to reference the term ‘Golf Widow’. This is in reference to the games people can play in relationships.
The Golf Tees have been sculpted so that the sculpture has two distinct aesthetics on each side.
The concept is to use the trace of a chess game to create. By tracking the moves of each piece on a chess board made during a single game of chess. David devised a methodology to record those moves in a chosen format to create a piece of art. Having established the ‘rules’ they can be applied to other games - for example famous games like ‘Queen’s Sacrifice’ to see what would be created. Chess was chosen as it was invented in India. With 'Tracked' both chess players - the winner and the loser - create. Through creation everybody wins.
- David Manley
- Debashish Dutta
Debashish Datta (b. 1976) studied Visual Arts from Indian College of Art & Draughtsmanship, Rabindra Bharati University, Kolkata (BVA, 1998) and Graphics from Faculty of Fine Arts, M S University of Baroda (MVA, 2001). He has also trained in conservation and restoration of artworks from the National Museum, New Delhi (2002). Debashish Datta has had six solo shows between 2003 and 2008 and these were held in New Delhi, Mumbai and Kolkata.Artist's Note on his Paintings:
This world is crowded with people. There are hordes of them everywhere, competing with each other, trying to fulfil their infinite dreams and desires. I try to create my own path, making my way through them but reaching my destination seems tough. When will I reach it? I do not know, but I do know that I must reach the target I have created for myself. I love mankind, I mingle in the crowds, becoming a part of them, running in this tedious and tiresome rat race.
- Elena Smith
Elena Smith studied fine arts at University of Derby, Derby (BA Hons, 2008). She has volunteered at Moot Gallery, Nottingham (2009-10) and worked at Notos Art Gallery, Limassol, Cyprus (2008-09) and for the Synapse Festival, Nottingham (2010).Artist's Note on her painting:
My present work is based on the current economic crisis, the recession, globalization and consumerism. I have photographed the ‘wreckage’ and the ‘abandonment’ of the vacant retail facilities in Derby area, such as at the Westfield Shopping Centre, and am currently experimenting with the shops in the old town centre. She tries to capture the sadness and the depression that is directly related to consumerism and represents those who have been affected by the current situation.
- Erich Paproth
Erich lives and works in Berlin, Germany.
He has studied theology, pre-, early- and history, and comparative linguistics and managed to get himself a PhD. He painted in the circle of the abstract material-oriented artists of the Düssledorf School: Herbert Zangs, Joseph Beuys, Zero, as well as A.Tapies, and others. He is a member of BBK and iaa aiap (unesco).Since 1989, he has been a freelance painter, curator, and book artist with numerous exhibitions in Germany and abroad.
My Work: …Aura as rejection of virtualityJust as much as the non-designed and the ambiguousness of a picture or object may be abstract. Is abstraction indeed necessary, but not to the extent of virtuality. It has to be said that a misunderstanding quickly arises as soon as a miserable straying about in this confusing global world is even hinted at. For one way to cope with painful experiences is to vanish into the virtual, into the absence from reality into the indeterminate.
"Virtualization is a war against frailty, pain, degeneration. Searching for security and control, we pursue the virtual, because it brings us into ontological realms in which the usual dangers cannot reach us." writes the French philosopher Pierre Lévy.
But vanishing is just one possible, but not a necessary, way to abstraction.
With Erich Paproth, the virtual is opposed above all by the absolute non-reproducibility of his works, which, and here we are completely following the thoughts of Walter Benjamin, by means of their unique production, the calm, and the attention they receive during it, develop an aura which calls for the co-presence, the simultaneous presence on the same site of both work and viewer so as to completely unfold.
Heart feeling, Orient, the nomadic, silvery glowing pictorial materiality, and I can’t help but situate Erich Paproth, indeed against his own will, in the proximity of another Krefeld native, Prince Yussuf, alias Else Lasker-Schüler.
- Harendranath Mahato
Harendranath Mahato (b. 1974) studied sculpture at the Faculty of Fine Arts, Baroda (MFA, 2004). He received fellowship to work at the Kanoria Centre for the Arts, Ahmedabad (2005-07). He has participated in Group Shows at Red Earth Galleries, Baroda (Feb Show, 2008), at Sarjan Art Gallery (Cutting Chai, 2009), Ahmedabad Art Festival, Ahmedabad (2007, 2005), Faculty of Fine Arts Gallery, Baroda (Art & Alphabets, 2004).Artist’s Note on his paintings:
For me, Nature is like a motif with trees and rain becoming part of the pattern in the motif. My other work explores the motif of the weaver bird’s nest and expands it to include the nest as a place of birth.
- Haresh Dhropal
Haresh Dhropal (b. 1981) studied painting at the Faculty of Fine Arts, Baroda (post-diploma, 2009). He was awarded the Scholarship from Krishna Kriti Foundation, Hyderabad, for 2008-09. He was invited to participate in Group Shows organized by Priyasri Art Gallery (Papier Mache, 2010, and The Big Baroda Show, 2010).Artist's Note on his paintings:
Like in any other sphere, the art world has undergone an unprecedented change due to globalization. My works deal with certain dichotomies which have emerged as a result of it. Today, artists seem to be compelled to address both local and global at a same time while working in his/her own areas of concern.
The techniques employed in my work have roots in the traditional handicraft of weaving which is popular even today throughout India, and which I am afraid, may soon be rendered extinct due to the onslaught of machine-made goods and technology. The subject matter of my works, on the other hand, refers to something universal at the same time. These works talk about the need of preserving the personal/local, and appeal against turning everything into a homogeneous entity.
- Heeral Trivedi
Heeral Trivedi (b. 1973) studied painting at the Faculty of Fine Arts, Baroda (MFA, 1997). She has had Solo Shows at Anant Art Gallery, New Delhi (Name/Place/Animal/Thing, 2009), Guild Art Inc., New York (There are in our existence spots of time, 2008), Guild Art Gallery, Mumbai (Bed of Roses, 2006), Gallery Chemould, Mumbai (Nurturing, 2002), Prithvi Gallery, Mumbai (Quasi Perceptions, 1999). She was invited to participate in several significant Group Shows at Emami Chisel Gallery, Kolkata, Tao Gallery, Mumbai, Art & Soul Gallery, Mumbai (2010), at The Strand Art Room, Mumbai, Viewing Room, Mumbai, Sans Tache Gallery, Mumbai (2009), New York Academy of Art, New York (with Tao Gallery), Articullate Gallery, Mumbai (2008). She has participated in shows in Tokyo, Bali, England, Singapore, New York and so on. She has been featured in the publication, Imagining Ourselves: Voices of this Generation of Women, International Museum of Women, San Francisco, United States of America.Artist's Note on her painting:
Looking at common toys (most likely to be found in village fairs) and our script (definitely made in India and not China) ... here I record them in a playful manner. It is this kitsch-like picture of India which is on our travel catalogues...the naive, native and colourful...now sold at malls.
- Himanshu Joshi
Himanshu Joshi (b. 1973) studied painting at the Faculty of Fine Arts, Baroda (post-Diploma, 1996). He bagged the Award for painting at the Gujarat State Lalit Kala Akademi Exhibition (1993). He curated an exhibition titled Medium Matters at the Sarjan Art Gallery, Baroda (2004) and another exhibition titled Whispering Palette at the Red Earth Galleries, Baroda (2007). He has been part of Group Shows such as Cutting Chai at Sarjan Art Gallery (2009) and The Big Baroda Show at Priyasri Gallery, Mumbai (2010). He has also participated in a number of Artists Camps organized by the Gujarat State Lalit Kala Akademi.Artist's Note on his paintings:
In my view, globalization is not the shortening of land distances but the overcoming of internal barriers. But while the world becomes global, the mind is becoming more isolated. When we examine closely we find that we have drawn ‘lines of control’ and ‘gaps’ that have made us into isolated islands, conditioned and guarded, always trying to create one’s own concrete place on earth.
- Irene Rogan
Irene Rogan was born in Millom, Cumbria and on completing a BA Degree in Fine Art at Nottingham Trent University in 1991 remained in the City in order to establish a successful studio practice at CAN studios. Early recognition resulted in awards from Arts Council England, Pollack Krasner Foundation (New York) and The British Council. These were followed by exhibition commissions, residencies and research bursaries to visit Portugal, Spain, Germany and China.Irene's work has consistently sought to interrogate the experience of living, of 'being', which includes her work exploring formal architectural practice; specifically evoked in the duality of inclusion and exclusion, spiritual and temporal, permanence and impermanence and in which the building can become a metaphor for individual and/or collective experience through the production of interior and exterior, of subjective and objective spaces. Influential research subjects for the above practice have been found in the work and writing of many architects for example: Hadid, Ando, Khan, Eisenman, Calatrava, Murcutt.
Early 'material structures' realised through industrial engineering techniques have evolved toward process based working in which research is central. Recent outputs have embraced computer technology, narrative film-making, site-specific installations and landscaping.
Found clock casing and LED light - 2011
double bind noun 1. Psychology: a situation in which a person is given conflicting cues that to obey one cue is to disobey the other. A double bind is about relationships and therefore concerns the games people play which can be quite destructive. ‘Double Bind’ here is a playful interpretation of the dilemma. The box with a door is an invitation to open the door whilst a notice states Do Not Open and a red light flashes insistently from within the box, almost demanding that the viewer opens the box.......Pareidolia Parchment
Oils, French polish and graphite on paper - 2011
Dictionary interpretation: ‘Pareidolia - Is a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include seeing images of animals or faces in clouds, the man in the moon’. In this work the artist has stained and folded the paper to create lines and markings, thus lending itself to interpretation by the viewer to discover images or shapes within the work using their own imaginations.
- Ivan Smith
Ivan Smith is an established artist whose Penny Black series of works have been previously exhibited at the Gooden Gallery, London (2007), at Digital Art Gallery Internet Exhibition (2008) and at Bend-in-the-river Gallery, London (2010). He was also invited to participate in the Sandarbh Residency at Belper, UK (2009). He has had a Solo Show, Tension, at the Gooden Gallery, London, in 2009.Artist's Note on his paintings:
This series of work emerges out of catastrophe, in this case Iraq. Individual images have been taken from the Internet, at exactly the same size and resolution and without interference. This provides the basis of a visual dialogue that is open to manipulation and ranges free from its source. Duplicated en masse, and using a repeating pattern, the miniature images create a field of colour that is derived from the detail. Then when the eye is drawn to the single miniature images, a gateway into the macabre is opened and the relentless despair of human disaster is highlighted.
- Jackie Berridge
My work explores human behavior and I propose to make work that encompasses the games people play in the widest sense. I am interested in human interactions, group dynamics and isolation. Playground politics can be observed in different environments, on different levels and by people of all ages. According to Eric Berne who wrote ‘Games People Play: The Psychology of Human Relationships’, we all play games, both consciously and subconsciously and the consequences can be positive or sometimes destructive.The playground is a source of inspiration for my work as games and tribal loyalty offer a framework in which to investigate human interaction. Shakespeare’s play ‘A Midsummer Night's Dream’ provides further inspiration with references to trickery, deception, humor, mischievousness and the complexity of human behavior in a group environment.
Anthropomorphic beings populate the landscape instead of people and symbolize the stereotypical attributes of animals... the cunning fox, the brave lion, the stupid ass. The ‘masks’ reveal/conceal identity. Enhancing the fantasy is a playground transformed into a dreamlike setting. The viewer is transported into an imaginary world where hierarchies, factions, prima donnas, leaders and minions coexist in an environment that provides a glimpse of the future: a microcosm of the workplace, the staffroom and the boardroom.
- Joe Kelly
My Work: Wrong pong came about as a result of us needing to keep warm in a cold studio. In order to entertain ourselves whilst waiting for paint to dry or glue to set, we built a table tennis table from an 8x4ft sheet of mdf and hung it from the ceiling of the studio on bits of strong elastic. Thus the swinging table was born. Since then there have been wonky tables, tables with obstacles, tables with holes, bats with holes, balls of differing densities and bouncy-ness. This is art that keeps you fit and warm as well as very entertained.
- Kamal Pandya
- Kajal Shah
Kajal Shah (b. 1977) studied painting at the C N College of Fine Arts, Ahmedabad and printmaking at the Faculty of Fine Arts, Baroda (post-Diploma, 2000). She received awards at the 40th and 44th Gujarat State Lalit Kala Exhibitions and at the 4th Western Region Art Exhibition organized by Camlin Art Foundation at Mumbai, 2001. She has participated in several International Print Biennales. She had her Solo Show at Contemporary Art Gallery, Ahmedabad (2005) and has been invited to participate in Group Shows at Shridharini Gallery, New Delhi, The Strand Art Room, Mumbai, Tamarind Gallery, New York, Red Earth Galleries, Baroda (2009), Mahua Art Gallery, Bangalore, Tamarind Gallery, New York, (2008), OED Gallery, Kochi (2007) and so on. Her work was also displayed at the Art Summit, New Delhi, 2008.Artist's Note on her paintings:
When we talk about challenges of the glocal, we need to understand the seriousness of this subject. Whether it is economical, political or geographical, in any condition every individual faces challenges of personal and social conflicts. And most of the time the individual finds himself/herself trapped in those situations and in the process, they also get lost in this transition. My works are all about that, though it is a very personal view to see this vast subject. A home away from home is nowhere…if it is there, then perhaps it is in between somewhere in this world. But where!!! In the mother land or in others' land!!?
- Kanika Shah
- K.K. Muhammad
K. K. Muhammed (b. 1966) studied painting at Kala Bhavana, Santiniketan (MVA, 1993) and Government Institute of Fine Arts, Thrissur (Diploma, 1996). He has had seven Solo Shows in different parts of India and has been invited to participate in more than 45 Group Shows in India and abroad. He has bagged awards from the Kerala Lalit Kala Akademi (1993), the India International Arts Centre, Kolkata (1993), the Bombay Arts Society Award , Mumbai (1994), the Bendre-Husain Fellowship, Mumbai (1994), and the Kejriwal Award for Young Artists, Bangalore (1999).Artist's Note on his paintings:
My recent works are greatly influenced by reading and re-reading of two great books, 'Anti-Oedipus' and 'A Thousand Plateaus' by Deleuze and Guattari, where concepts like desire, war machine, body without organs, flow together with all other elements like multiplicities, lines, strata and segments, lines of flight and intensities, machanistic assemblages and their construction. It is not just a point of reference, but it also a point of intensity of signs, the analysis of relationship of 'desire' to reality and to the ‘war machines’. Here the question is how to introduce 'desire' into a thought, into a discourse, how can one deploy its forces in to the political and cultural domain and grow more intense. My works indicate inference with life and natural process, the interior and exterior forces and relations. It is like an event in which time and space, and mass and energy, illusions and reality, are coming together. It is not just the idea, it is also important what they look like and where they are located in relation to each other, and it is about the masculinity as something that becomes predominant in the historical and cultural context of violence; it is everywhere, terrifying and terrorizing.
It is an attempt to generate new and revealing ways of trying to encounter, grapple with and understand the world around me, so it is not necessarily to pre-empt pleasure or beauty in a conventional sense, but rather gives rise to new possibilities for the unknowing extension of the experiences; it's also an attempt to interrogate the conflict between the real and reality.
- Kruti Thaker
Kruti Thaker (b. 1981) studied painting at the Faculty of Fine Arts, Baroda (MFA, 2006). Her first Solo Show was Quotidian Pleasures at the Anant Art Gallery, New Delhi (2008). She was invited to participate in curated Group Shows at The Loft, Mumbai (2008, 2010), The Strand Art Room, Mumbai (2009), Mirchandani+Steinrucke Gallery, Mumbai (2006, 2007), Project 88 Gallery, Mumbai (2007), Anant Art Gallery, New Delhi (2007), Red Earth Galleries, Baroda (2007), Lemongrasshopper Gallery, Ahmedabad (2006).Artist’s Note on her paintings:
My works are inspired by objects surrounding me and from a certain kind of feminine delicacy and touch. This has always been the centre-point of my work. The game of cricket has fascinated me from my childhood, as it is with the rest of my family. Since the IPL matches were going on in India in March and April, I chose to work with cricket as the subject of my paintings. IPL entered my kitchen too. My works, "Indian Kitchen League" melt away the differences of gender, race, country boundaries, as satellite communication and the Internet reaches every part of the globe. The game’s ground becomes a dish, and cricketing gear and wickets turn into forks, kitchen vessels and the spoons are the players, the ball is the dessert while the world watches, imagining and being fascinated. The popularity of T-20 takes it out of the stadium into streets, shops, cafeterias, offices, classrooms, homes, dining tables and finally, the kitchen.
- Marie Hegarty
Marie Hegarty studied art and design at Oxford & Cherwell Valley College (2007) and creative expressive therapies at the University of Derby (BA Hons, 2010).Artist’s Note on her work:
Changes Inside Of Seasons
‘Art is the objectification of feeling & the subjectification of nature.’
What lies at the heart of a matter or what lies at the heart of everything from my perspective is symbolized in my work. In a similar sense to how the world couldn't survive without the sunshine I couldn't survive without my family.
In regard to Globalization, I feel my work reflects the positive and negative effects of civil society, with a main focus on individuals who support and promote environment preservation. Although these are non-government based organizations they share the same goal of serving the people. Community groups embrace the spirit of individuals which often encourages the formulation of faith based organizations, self-help groups and social movement, however boundaries between the state, civil society, family and market are often complex. This diversity is reflected in my work. The mixed media represents the mixed feelings that can arise from cultures all over the globe in accordance to this movement of change.
In relation to seasonal change I can identify with how I often notice and talk about the 'outside' world which I believe gives me a sense of belonging, a feeling of connectedness. Our perception of nature is believed to be influenced by 'collective representation and by individual psychology and experience. The aesthetic experience where one feels at the same time part of the picture, or landscape, or relationship but also separate as one comes out of it, has a psychological predecessor in Winnicott's me/not me, of potential space and transitional phenomema.' (Case, C, 2005). This explains why I have titled my work ‘Changes Inside Of Seasons’ as it delves into the concept of the internal/external world of individual lives.
As stated by Artcore 'Neither India or Great Britain has been left untouched by the effects of Globalization'. I believe the installation of books which I have created, encourage the audience to ‘touch on’ and 'open up' these feelings. I hope to share my story on an International level as how the viewer interprets my work and how they feel about Globalization may be different from my own response
- Maneesha Doshi
- Manesh Baliga
- Marvin Mitchell
- Micheal Bowdidge
- Mukthinath Mondal
- Nicholas Wright
- Nicki Dennett
Nicki Dennett studied Illustration at University of Derby (BA, 1st class Hons, 2006), having earlier studied Foundation in Art & Design, Printmaking & Bookmaking at Chesterfield College. She has received numerous awards including those at the Patchings Open Competitions, Nottingham (2010, 2008, 2006, 2005), the Tony Wilkinson Award at Thoresby Open, Nottingham (2006), the Nottingham Annual Open Competition Solo Prize (2005) and the East Midlands Contemporary Art Society Prize (2004). She has had Solo Shows at Cathedral Centre, Derby (2008), Nottingham Castle (2006-07) and in Derby (2006). She has conducted numerous workshops in printmaking from 2006 to 2010. She has participated in numerous Group Shows and Events all over the Midlands and been part of Group Shows that travelled to the USA (2006, 2007-08).Artist's Note on her painting:
We can communicate with most parts of the world to exchange food ideas, communicate directly with someone; we can see each other as we speak to people online if we wish. We can do business with someone on the other side of the world without leaving our computer.
Online Shopping is part of a series of images about healthy eating. In this particular image the character is shopping online for food because she is at home looking after a small sleeping child. It's so easy to buy anything from anywhere online nowadays.
- Nikhileshwar Baruah
Nikhileshwar Baruah (b. 1967) studied painting at the Faculty of Fine Arts, Baroda (MFA, 1992). He was selected by the UNESCO-Aschberg Bursaries to work for a year (1997) at the European Ceramics Work Centre, The Netherlands. He bagged the prestigious Emerging Artist of the Year Award at the Harmony Show, 2000. He has had Solo Shows at Guwahati (1990), Prithvi Gallery, Mumbai (1997), The Guild Gallery, Mumbai (1999), Lakeeren Gallery, Mumbai (2000), Hacienda Gallery, Mumbai (Departure, 2006), R L Fine Arts, New York (City-zens, 2007), Hacienda Gallery, Mumbai (Simply City, 2009). He has been a part of many significant curated Group Shows held in Baroda, Bangalore, Mumbai, Kolkata, New Delhi. He was also part of the Open Circle Project for Yokohama International Triennale of Contemporary Art, Japan in 2005.Email: email@example.com
- Nikki Whitlock
Nikki Whitlock (b. 1970) studied art and literature at West Herts College (1994), painting at The Open University (2000) and photography (University of Derby, 2010). She has been a part of Group Shows, Workshops and Events all over the Midlands since 2005. She has executed commissions in mosaic in the USA and UK. Over the last five years, she has been co-ordinating significant projects at Inspirall Arts, Derby, which delivers and facilitates high quality, ingenious, creative workshops, events and exhibitions encompassing all aspects of arts and craft and the spoken word, in a participatory arts approach, sometimes in collaboration with other artists and art groups. She specialises in all aspects of arts and crafts, but largely mixed media, collage, sculpture (using recycled materials), mosaics, textiles, new media arts, retrospective arts & crafts, paint techniques, eco-friendly pigment and dyes, and so on.Artist's Note on her work:
This mosaic work was inspired by a poem I wrote, when living in London, and whilst there, I became increasingly overwhelmed and disillusioned with the fast pace of day to day living. In a large cosmopolitan city, it seems 'community' has increased but 'community spirit' diminished. I felt lost and swept along by the impersonal nature of human traffic that lines the streets, and the mistrust between races. I yearned for pastures new and often felt as if something was missing. I needed to rekindle my links with the natural world. Whilst walking through the woods one day I felt I was literally being called home. With this experience I realised as a race we have our priorities very wrong.
Globalisation has many positive aspects i.e. the blending of cultures, new ways of learning, different viewpoints etc, but one of the negatives I believe is losing touch with our natural habitat and our lack of respect for it. The unseen and far-reaching effect of these phenomena is worrying, as it seems to be mostly for economic gain in certain countries.
Therefore the lady in the mosaic has heard a call a 'Gentle hum' or 'nature’s voice'. She has become consumed by the woods and joined many who left the rat race behind.
Extracts from the poem :
Oh let me be overcome with fern
Let me lose identity in wood
A stigma a transfusion of sap
In vein & pulse through blood
I am green, perennial, & immune to man’s lies
No longer individual, I have photosynthesised
Humans Hear me no more only a the gentle hum
The light through the Forest is me, finally overcome
- David Manley
Nishith Mehta (b.1987) studied painting at the Faculty of Fine Arts, Baroda (BVA, 2010) and Orientation to and Foundation Studies in Art & Design, Byam Shaw at Central St. Martins, University of the Arts, London (Diploma). This is his first Group Show.Artist’s Note on his painting:
No place like Home!
The universe is ever-changing - a constant chain of creation and destruction. So is identity.
Out of a universal evolution of human beings, came diverse races, cultures, kingdoms, and nations, which developed within themselves. Now as these interact with each other we migrate into another phase of intermingled, some would say confused, cultures that fit the lifestyle of individuals. Earlier classifications are losing all meaning. My work talks of this mixed identity and one’s inability to reason with his traditional, rooted self and the modern, more practical self.
- Paul Hirst
- Paul Matosic
Paul Matosic studied fine arts at the Bolton College of Art (Foundation, 1977), at North Staffordshire Polytechnic (BA Hons., 1980) and Nottingham Polytechnic (MA, 1990). He has also taken Arts Management training with Lee Corner and studied Creative Collaborations at Nottingham Trent University (MA, 2006). He has had Solo Shows at Sheffield, Woking, Scunthorpe, Derby, Nottingham, Barnsley, Londonderry, Canada and Germany. He has participated in prestigious Group Shows in New York and other parts of USA, Slovenia, Brazil, Stockholm, Berlin, Ontario, and in London and the Midlands. He has been invited for numerous Sculpture Residencies all over England and articles on his creative work has appeared in many newspapers, magazines and the electronic media. He has also been a visiting faculty at Ontario College of Art, Toronto, Canada, Nottingham University, Grantham College, Newark and Sherwood College and South Nottingham College.Artist's Note on his work:
Electric wire - Without this stuff modern day technologically driven society would cease to function. We are surrounded by miles of the stuff yet much of it remains hidden. All the wire used here is the waste product either from old equipment, old wiring or the required surplus of a new installation. As any electrician will tell you too much is just enough. It is far better to run out a surplus to be trimmed than not have sufficient to connect up. Thus miles of new unused wire is simply thrown away.
When I first started making these wire constructions in 2002/3 the cost of copper on the commodities market was such that it was uneconomic to reclaim the copper from this wire thus it went to the landfill site, (unless I got my hands on it). However now that world demand outstrips production, the cost of this commodity has gone up making waste wire a rarer commodity than before.
- Pauline Woolley
- Poushali Das
Poushali Das (b. 1974) studied painting at Kala Bhavana, Santiniketan (BFA, 2002) and at Faculty of Fine Arts, Baroda (MFA, 2004). She was awarded the Nandalal Bose Scholarship while at Santiniketan. She has had Solo Shows at Gallery Espace, New Delhi (2006) and at Gallery Art Resource Trust, Mumbai (2005). She was selected some very significant Group Shows such as at Emami Chisel Gallery, Kolkata (Dakshin Paschim, 2010), Hub Artist Camp and Show , Baroda (2009), Dubai Art Fair with Gallery Espace (2008), Birla Academy of Art & Culture, Kolkata (Beyond Credos: Painting in Baroda Today, 2007), Travelling Show (Celebration of 150th year of India’s freedom struggle, Celebrating Indian –III, 2007), Gallery Art Alive at Royal College of Art, London (Celebrating India in London, 2007).Artist's Note on her painting:
In my work and painting practice I am constantly trying to stimulate a dialogue between myself and the Bengal School. In standard accounts of Indian modernism, ‘Revivalism’ as initiated by Abanindranath Tagore has been labelled as retrograde and anti-modernist. Not only Bengal revivalists but also the pan-Asian art traditions of ancient China and Japan have been seen as anti-modernist to western spectators. In this way I use traditional techniques and formats as a way of questioning modernist ways of viewing that which they term “Man” and that which they call “Nature”.
Painting on silk for me is way of evoking cosmic spaces. I learnt traditional methods of working on silk by studying the ancient scroll paintings of Chinese masters from the Sung dynasty. These artists had arrived at the method of reducing the size of the human figure set within the landscape according to that which they believed was a spiritual scale, or cosmic geometry. In my practice therefore I have adopted the idea of fragmenting the whole figure in the way that a certain school of Japanese painters, and also the Impressionists did. In this way I let the frame cut the figure into a part, with the aim of visually implying a further journey into infinity is left to the imagination of the viewer
In today’s age of technological advancement, the choice of my medium, wash tempera on silk, my subject matter into the occidental world which is in loss of the spiritual trance, to seek the possibilities which my personal search resonates might seem anti-modernist to a western spectator. I work a great deal with tempera, a medium which plays a huge role in our art tradition and history. Based on natural pigments, I want to stimulate the effect of transcendentalism visa via medium. Tempera for me communicates with visual sensitivity. It is a very conscious choice of wash tempera on silk to rejoice the artisanal aspect of my painting wherein I use earth pigments grounded painstakingly in a hand mortar then mixed with binding agent and water, liquidized to the certain viscosity perfect to be used on stretched silk. Apart from the historical link through the genealogy of scroll, I have created my own approach by stretching silk on wooden stretchers, frequently assembling several or more of these to create diptych and triptych works. Its ritual-like approach constantly resurrects the past, contextualizing it in the present .
Together they invoke a precious world of misty landscape and profound beauty that apparently seems cut off from the present. My works steeped in rarefied aesthetics may strike a discordant note when most contemporary trends seem to move towards the anti-aesthetics. To create an enchanted landscape and bring it within our horizon of perception is to deal with public imaginary- not as a solitary hallucination but as collective imagination.
- Prantik Chattopandhyay
- Prashant Nageshkar
- Preeti Sood
Preeti Sood studied printmaking at Government College of Arts, Chandigarh, India (BFA, 2000), at Santiniketan, India (MFA, 2002), and at Camberwell College of Art, London (MA, 2007). She is currently artist-fellow/technician at the University of Lincoln teaching under-graduates and post-graduates. She taught at the University of the Arts, London between 2007 and 2009. She has received several fellowships, scholarships and awards as a student in India and the UK. She has had two Solo Shows, one in London ( 2009) titled ‘Home, Sweet Home’ at the Noble Sage Gallery, and ‘Cartographs Within’ at Arushi Gallery, New Delhi, India (2007). She has been invited to participate in several prestigious Group Shows in New Delhi, Bangalore, Bhopal, Shimla, Bhopal, Chandigarh, and Santiniketan in India, and in London, Surrey, Tokyo, Sydney.Artist's Note on her work:
Research is about Absence and Presence. I am exploring the concept of "GLOCAL". The move to Great Britain from India impressed by similarities and contradictions between the two distinct capital city spaces, Delhi and London. This initiated an exploration of my sense of displacement felt in the transition of moving between cities and cultures. Differences were explored through the medium of print. The starting point is the distressed ephemera of urban streets. Have a fascination with how these multi-layer images decay and recombine in unexpected and seemingly random ways.
- Rahul Gajjar
- Rahul Mukherjee
- Rajib Chowdhury
Rajib Chowdhury (b.1971) studied painting at Government College of Art & Craft, Kolkata (BVA, 1996) and graphics at Faculty of Fine Arts, Baroda (post-diploma, 1999). His first Solo Show, Malhar, was held at Jehangir Art Gallery, Mumbai (2004). He was also awarded the National Scholarship from the Department of Culture, Govt. of India, 1996-98. He has participated in number of important group shows in India and abroad.Artist's Note on his paintings:
There are two Indian global business leaders who have played a hugely significant role in India's economical growth and credibility.
The steel tycoon, Mr. L N Mitttal is an Indian industrialist based in the UK, where he has risen to becoming one of the richest persons. By his vision, hard work and charisma, Mittal has developed a moderate family business into a global steel giant, with plants in many countries. His group is now diversifying into shipping, coal, power and oil enterprises. The most fascinating thing about this man is his knack of buying sick and rusted steel companies and turning them into gold! That's why the old saying, 'fortune favours the brave', applies to him in its entirety. One of the most well-known and respected industrialist in India, Mr. Ratan Tata is the head of the vast Tata Group. He is highly praised for his extraordinary vision, risk-taking ability and high ethical standards. But, what is more important, he is highly esteemed and respected for his dedication to humanitarianism.
- Ramgopal Kumavat
- Riya Chatterjee
Riya Chatterjee studied painting at Kala Bhavana, Santiniketan (BFA, 2004) and Chinese painting at South-west Normal University, Chongqing, China (post-Diploma, 2007) with full scholarship from Chinese Government. She won the Fuschia Future Artist Award, Fuschiatree Art Gallery, New Delhi (2009). She has participated in Group Shows at the Birla Academy of Fine Arts, Kolkata (2005), Travancore Art Gallery, New Delhi (2008), The Strand Art Room, Mumbai (2009), Blue Spade Art Gallery, Bangalore (2010), Priyasri Art Gallery, Mumbai (2010). She has also conducted and participated in several artists' workshops.Artist's Note on her painting:
In my work I have depicted a boundary, which is manmade. Though we don't own an inch of land but we have the capacity to divide the land into many pieces. People who live close to the divider share the same soil, water and culture too. That barrier can’t confine the air they breathe. It’s nothing but a transitory phase.
A fragile periphery
Through which we divide the land
Though we don’t own an inch of it
But we love to draw a line around our house,
A line around our society, our state, country and many more…
With this boundary we are getting isolated,
Without this boundary we are getting universal
The whole land is ours…
WE–the collective being...
- Rosie Morris
Rosie Morris studied painting at Loughborough University (BA Hons, first class, 2008). She has participated in Group Shows at galleries in London, Leicester, Devon, and Loughborough,Artist's Note on her work:
In today's 'cinematic society' we unapologetically assimilate the world around us and the lives of others, in an intrusive and yet distanced manner. I create paintings which react to this Spectacle of Society, as well as the voyeuristic tradition in much of Art’s history where viewer and artist play the domineering roles.
My objective as a professional artist is to elevate the viewer's sensitivity to another through their act of looking, creating in them a resonating and even haunting impression as they are confronted by, and engage with, another individual. These works draw from my experience as a traveller in developing countries such as India, and highlight the moment of realisation when the voyeuristic stare is returned.
In my work, The Spectacle (2), the ghostly and familiar face returns our stare, intriguing and engaging the voyeur. By using a mixed media approach to the work, the image alludes to the layered, faded and yet colourful streets of India/Pakistan. Both subject and viewer take on the position of the outsider, staring outward and creating a mutually enriching dialogue by the locked gaze.
- Rooshika Patel
Rooshika Patel studied painting at the Faculty of Fine Arts, Baroda, and also did a short-term course at the Royal College of Art, London (2009). She has participated in several prestigious Group Shows in Mumbai, Baroda, Ahmedabad and New Delhi. This is her first participation in a show in the UK. Rooshika now lives and works in London.Artist's Note on her painting:
Globalisation provides a wide range of options to fulfil our basic, day-to-day needs (food, clothes, computers, televisions, shoes, entertainment, transport, etc.). It has made our lives easy, eventful, adventurous, luxurious, and stylish, with international brands available globally in local markets. We love this part of globalization.
So globalization has entered our lives like a glamorous advertisement. But it carries a hoard of problems behind that glittering poster. Global-warming, peace process agreements under threats of war, terrorism, criticism of politics and politicians, immigration, over-populated cities, disappearing species, racism, discrimination, unseen and unheard of health problems – stressful issues that are very much globally local. We hate this part of globalization.
At this level we cannot afford to just enjoy globalization and simply blame and have expectations from others. We cannot ignore this matter. We certainly cannot. Every individual has to contribute whatever is possible from their end. We were very much part of that eventful globalization. It’s now the time to come to our senses and act responsibly, to Go Green, to Give back to mother-land Earth. This is not a time for nationhood or brotherhood but time for "EARTHHOOD".
I feel that since this theme demands a message, I chose a design style to get through both the essential elemental aesthetics and function. For the very first time I am using TEXT in my work which makes it widely consumable and reasonable.
- Saira Lloyd
- Sajal S. Sarkar
Sajal Sasanka Sarkar (1971) studied Visual Arts from Indian College of Art & Draughtsmanship, Rabindra Bharati University, Kolkata and completed Post-Diploma in Painting from Faculty of Fine Arts, M S University of Baroda (2000). His paintings have been selected for participation in curated shows such as Strands of Joy (The Strand Art Room, Mumbai, 2009) and Cutting Chai (Sarjan Art Gallery, Baroda, 2009) both curated by Sandhya Bordewekar, The Miniature Format Show (Sans Tache Gallery, Mumbai, 2008), Group Show organized by Christopher Garnier (The Air Gallery, London, 2007), India Today Show (C. Bristow Gallery, London, 2007), Beyond Credos: Painting in Baroda Today, curated by Prof. Shivaji Panikkar (Birla Academy of Art & Culture, Kolkata, 2007), Feb Group Show ’06 (Red Earth Galleries, Baroda, 2006), Indian Contemporary Art Exhibition (Lalit Kala Akademi National Show, Yangoon, Myanmar, 2005). Sajal has been invited to participate in Artists’ Camps in Turkey and Singapore, and for the Train Painting Project of the World Social Forum, Mumbai, 2004. His works were part of the auction, Art for Freedom 2, conducted by Bonhams and Tehelka at Asia House, London.Artist's Note on his Paintings:
My Ways of Seeing
In my works, the horn is a direct and important symbol of the noise in the marketplace created by a product that wants to dominate the market. Globalisation allowed the opening of global markets often allowing products with financial clout to dominate and reign and in the process destroying the use of native and indigenous produce. The marching soldiers carry horns instead of weapons of destruction, but this horn is also a weapon of another kind. In the other painting the figures are unclothed since clothing offers an identity. Even they are carrying horns indicating the ease with which sometimes all of us allow cultural domination consciously or unconsciously.
- Sara Burden
Sara Burden studied art and design at University College, Northampton (Diploma Foundation Studies, 1997), fine arts at City of Sunderland University (Foundation, 2003, BA Hons, 2008). She works at the Banks Mill Studios, Derby, undertaking commissions for murals and paintings and participating in art events. Her work, “A Book about Death” is selected for the permanent collection of MOMA, Wales. She has been invited to participate in prestigious Group Shows in London, Derbyshire, Nottingham, Sheffield, Sunderland, and in Live Art events.Artist's Note on her work:
I have created this work, as a personal response, to comments received from around the globe, via the internet, regarding a project about personal possessions. This piece looks at recognisable objects, which have been altered in appearance, which creates a feeling of unfamiliarity with what is being looked at. Importance has been placed upon objects, which one can take for granted and there is a sense of unbalance in the value placed upon what appears in the photograph. The effects of globalisation have affected the way in which we perceive the true value of what surrounds us.
I have created this work, as a personal response, to comments received from around the globe, via the internet, regarding a project about personal possessions. This piece looks at a recognisable object, but changing its appearance and placing it within an elite environment, gives the object purpose and allows room for contemplation, of the importance of the object, irrespective of its initial monetary or social value. The effects of globalisation have affected the way in which we perceive the true value of what surrounds us.
- Sara Brighty
- Sandip Pisalkar
- Sathi Guin
Sathi Guin (b. 1979) studied painting at Rabindra Bharati University, Kolkata (MVA, 2003). She received the Sunayani Devi Scholarship, Kolkata in 2003. She had a two-person show, Soft Core at Sarjan Art Gallery, Baroda (2007) and participated in Group Shows at the Birla Academy of Culture & Art, Kolkata, at Gallerie 88, Mumbai and Kolkata, Kalahiti Gallery, Hyderabad. She was selected for curated shows such as Cynosure, a group show of women art, Cutting Chai, curated by Sandhya Bordewekar for Sarjan Art Gallery, Baroda (2009). Her work was showcased in the India Art Summit, New Delhi, 2008, by Art 18/21, London.Artist's Note on her Paintings:
Although I live in a small city like Baroda I can still access different types of foods from different countries such as pizza, pasta, chow mein, and different type of desserts like cookies, pies, pastries, etc. This is all possible because of 'globalization'. And we get all of it with a dash of the local essence such as butter chicken pizza, Jain pasta, and so on!
- Sharath Kulgatti
- Shatrughan Thakur
Shatrughan Thakur (b.1976) studied painting at Faculty of Fine Arts, Baroda (MFA, 2004). He has participated in several prestigious Group Shows such as Paint & Pigment at Nehru Centre, London (2009), Cutting Chai, Sarjan Art Gallery, Baroda (2009), Baroda March, The Strand Art Room, Mumbai (2009), Parables of Thread, Loft Gallery, Mumbai (2008), Feb Show 2007, Red Earth Galleries, Baroda (2007), Satyagraha, Kizo Art Gallery, Durban, South Africa (2006). He has attended several artists’ camps such as the Indo-Britain Science Foundation, London, organized at Patna (2008, 2009), and workshops especially on natural and vegetable dyes. He has also published research papers on his work with fabric and natural and vegetable dyes and contemporary art expression.Artist's Note on his paintings:
In my work I go back to the memories of our freedom struggle, the value of our traditions and Gandhi's ideology. Then I started to think about this in context of globalization. The important part of khadi movement during the freedom struggle was that it promoted the farmers who are cultivating cotton. It was also a radical thought against British imperialism. Sixty years after Independence, globalization has brought BT Cotton to India. While there is much optimism with globalization, there is also a strong hidden agenda supporting the capitalist ideology. Will India be able to resist it or will her energy, idea of freedom and values beak down in face of a new kind of slavery? Will globalization bring the changes we want and expect?
- Shuma Pal
Shuma Pal studied textiles at Manchester Metropolitan University (BA Hons., 1999) and marketing at Bradford University School of Management (MA, 2002). She has participated in Group Shows in Bradford, Sheffield, Reading, Manchester, London, France and India. She has been associated with cultural organizations such as Shisha, Wise Moves and Kalasangam in the UK and the Mamta Shanker Ballet Troupe, India.Artist's Note on her work:
My work explores my personal journey of both my past (in Kolkata, India) and present (in UK) life experiences. Sensuality, spirituality, emotions, energy, space, colour and mark are my main connections, looking and drawing parallels from both life and objects around me. My work explores my yearnings, struggles and contradictions.
Intoxication explores the intoxication of exciting dreams for the known and unknown future. The economic rise of India due to an open economy has led to a higher standard of living for the middle classes since the 1990s which has led to challenging dreams that are becoming a reality.
- Soumen Das
Soumen Das (b. 1969) studied painting at the Faculty of Fine Arts, Baroda (MFA, 1997). He has had Solo Shows at Hirji Gallery, Mumbai (Time & Space, 2009), Ashish Balram Nagpal Galleries, Mumbai (Time & Empty Space, 2008), Haceinda Gallery, Mumbai (Imprints of Space, 2006), Sarjan Art Gallery, Baroda (Epiphany/The Moment, 2005), Nazar Gallery, Baroda (Memories, 2001), and The Fine Art Company, Mumbai, 1991. He has been invited to participate in several significant Group Shows at Art & Soul Gallery, Mumbai, Gallery Espace, New Delhi, Gallery Art Motif, New Delhi, Birla Academy of Art & Culture, Kolkata, Pundole Gallery, Mumbai, Andrew Shine Gallery, Singapore, Asian Cultural Centre, New York, Anant Art Gallery, New Delhi and so on.Artist's Note on his painting:
New/contemporary city spaces have no/little regional character. Though these two paintings are based on my immediate surroundings, which are part of an expanding city suburbia with a lot of construction going on. But it is a landscape you may find in any other developing city also.
- Steffie Richards
- Sujata Aten
Sujata Aten (b. 1973) studied fine arts at Stafford College (2006) and specialized in painting at Derby University (BA Hons., 2009). She has had Solo Shows at New Delhi, India and in Dovedale, Derbyshire. She has participated in Group Shows in London and several cities and towns in the Midlands.Artist's Note on her painting:
On a Sunny Day
This painting is based on collected experiences and memories of being born and brought up in India, my travelling and having lived in England for ten years now. It explores the psychological space between ideas and memory. I have always been passionate about paintings and colour plays an important role in my life. I do not produce an accurate representation but aim to evoke a sense of personal experience, to create an image which brings together different aspects of the landscape, making it a picture derived from my experience in a particular place.
- Ved Prakash Gupta
Ved Gupta (b. 1975) studied sculpture at the Faculty of Fine Arts, Baroda (MFA, 2006, Gold Medal at BFA, 2004). He bagged the H K Kejriwal Award for Young Artists, Bangalore, 2007, the Kashi Award for Visuual Arts, Kochi, 2007, the H,Bhatt Award for Sculpture, Faculty of Fine Arts, Baroda, 2005, the Sankho Chaudhuri Scholarship at the faculty of Fine Arts, Baroda, 2002-03-04. After schooling apprenticed with artisan guilds and traditional temple master-sculptors for five years before joining art school. He has had Solo Shows at Gallery Threshold, New Delhi (Plight of Democracy, 2009) at the India Art Summit, New Delhi, and at India Habitat Centre, New Delhi (Arrested Moment, 2008). He has been invited to participate in several prestigious Group Shows organized by Guild Gallery and Saffronart at New York (A New Vanguard, 2009), Gallery Threshold at Sculpture Park, India Art Summit, New Delhi (Dog Democracy, 2009), Gallery Threshold and Religare Arts Initiative, New Delhi (The Human Animal, 2009), Al Bastika Art Fair, Dubai, 2009, Herbert Art Gallery & Museum, Coventry, UK (Through Other Eyes, 2009), Shanghai Contemporary Art Fair, 2008, Foundation of Indian Contemporary Art, New Delhi (Urgent: 10 ml of Contemporary Needed, 2008). He has also exhibited all over India, done collaborative work and spoken at Symposiums and Workshops.Artist's Note on his painting:
Glocal Alliance is a reconciliation of what we observe in the present day agreeable global practice in a local. I am trying to show two opposites, having similar thought to dominate each other. Their split tongue portrays their dual stand which varies for opportunity, greed and power thirst; space in between canvases is to keep way their differences while the mirror like images with only dress exchanged shows the surficial adoption.
- Vinod Patel
Vinod A. Patel studied sculpture at Faculty of Fine Arts, Baroda (MVA, 2001). He had his first Solo Show at the Anant Art Gallery, New Delhi. He was invited to a Sculpture Symposium in Mexico and has also attended Sculpture Workshops in Mumbai, Jammu, Gwalior, Baroda where he has made monumental sculptures and site specific works. He has been one of the main movers and shakers behind the Feb Group Shows held in Baroda between 2003 and 2009 which offered a very important platform to highly talented young artists from Baroda. His work has been a part of several significant Group Show in Mumbai, New Delhi, Ahmedabad, Bhuvanesvar.Email: firstname.lastname@example.org