Conceptual

Language is considered to be an important tool of conceptualist which is considered as a work of art in complete by stating, writing, pasting and exploring different materials. The journey begins from exploring material as my art work basically using every, day to day life objects or elements i.e. Match-Box, Wood, Cloth, Capsule, Silicon-Gel packets, Paper Bags, Cut - outs as well as pasting methods has also been used. Linear structure in painting is used with the purpose of technical minimalism. Rice paper is extensively used for the very expansion of boundaries in my work. Intentionally torn papers are executed for visual impact as well as conceptual ideas. Exploration of paper, wood has also been introduced which can be shaped in my own areas of space. The formation as well as the deformation of wood helps to explore my work in greater extent. Paper can be stitched or pasted prior to the context, wood can also be stitched or surficial weave with the help of thin wires and constructed into inorganic space. Introduction of paper bags and coloured motifs on it helps to create my own inorganic elements. With the help of watercolors I tried to execute cut-outs, various materials is explored layer by layer creating a metaphorical language. Pasted paper one on top of the other brings out the refinement of pictorial language. The foreground paper is cut into a well maintained boundary of surrounding elements. Figures are also represented from the day to day performance of the basic livelihood. The painting portrays a Girl from Fine Arts who intuitively represent the cultural aspect of present repulsiveness. The figure tries to exhibit her Identity of valueless entities like the household product of match boxes which become less important. Match box is an entertainment in viewpoint because commodities excel in every format with the help of image on top of its surface for advertising or publicity. Textile creates an impact to reach through the artwork of making relevant imaginative, lucrative and refined elements.

Language is considered to be an important tool of conceptualist which is considered as a work of art in complete by stating, writing, pasting and exploring different materials. The journey begins from exploring material as my art work basically using every, day to day life objects or elements i.e. Match-Box, Wood, Cloth, Capsule, Silicon-Gel packets, Paper Bags, Cut - outs as well as pasting methods has also been used. Linear structure in painting is used with the purpose of technical minimalism. Rice paper is extensively used for the very expansion of boundaries in my work. Intentionally torn papers are executed for visual impact as well as conceptual ideas. Exploration of paper, wood has also been introduced which can be shaped in my own areas of space. The formation as well as the deformation of wood helps to explore my work in greater extent. Paper can be stitched or pasted prior to the context, wood can also be stitched or surficial weave with the help of thin wires and constructed into inorganic space. Introduction of paper bags and coloured motifs on it helps to create my own inorganic elements. With the help of watercolors I tried to execute cut-outs, various materials is explored layer by layer creating a metaphorical language. Pasted paper one on top of the other brings out the refinement of pictorial language. The foreground paper is cut into a well maintained boundary of surrounding elements. Figures are also represented from the day to day performance of the basic livelihood. The painting portrays a Girl from Fine Arts who intuitively represent the cultural aspect of present repulsiveness. The figure tries to exhibit her Identity of valueless entities like the household product of match boxes which become less important. Match box is an entertainment in viewpoint because commodities excel in every format with the help of image on top of its surface for advertising or publicity. Textile creates an impact to reach through the artwork of making relevant imaginative, lucrative and refined elements.

Language is considered to be an important tool of conceptualist which is considered as a work of art in complete by stating, writing, pasting and exploring different materials. The journey begins from exploring material as my art work basically using every, day to day life objects or elements i.e. Match-Box, Wood, Cloth, Capsule, Silicon-Gel packets, Paper Bags, Cut - outs as well as pasting methods has also been used. Linear structure in painting is used with the purpose of technical minimalism. Rice paper is extensively used for the very expansion of boundaries in my work. Intentionally torn papers are executed for visual impact as well as conceptual ideas. Exploration of paper, wood has also been introduced which can be shaped in my own areas of space. The formation as well as the deformation of wood helps to explore my work in greater extent. Paper can be stitched or pasted prior to the context, wood can also be stitched or surficial weave with the help of thin wires and constructed into inorganic space. Introduction of paper bags and coloured motifs on it helps to create my own inorganic elements. With the help of watercolors I tried to execute cut-outs, various materials is explored layer by layer creating a metaphorical language. Pasted paper one on top of the other brings out the refinement of pictorial language. The foreground paper is cut into a well maintained boundary of surrounding elements. Figures are also represented from the day to day performance of the basic livelihood. The painting portrays a Girl from Fine Arts who intuitively represent the cultural aspect of present repulsiveness. The figure tries to exhibit her Identity of valueless entities like the household product of match boxes which become less important. Match box is an entertainment in viewpoint because commodities excel in every format with the help of image on top of its surface for advertising or publicity. Textile creates an impact to reach through the artwork of making relevant imaginative, lucrative and refined elements.

Language is considered to be an important tool of conceptualist which is considered as a work of art in complete by stating, writing, pasting and exploring different materials. The journey begins from exploring material as my art work basically using every, day to day life objects or elements i.e. Match-Box, Wood, Cloth, Capsule, Silicon-Gel packets, Paper Bags, Cut - outs as well as pasting methods has also been used. Linear structure in painting is used with the purpose of technical minimalism. Rice paper is extensively used for the very expansion of boundaries in my work. Intentionally torn papers are executed for visual impact as well as conceptual ideas. Exploration of paper, wood has also been introduced which can be shaped in my own areas of space. The formation as well as the deformation of wood helps to explore my work in greater extent. Paper can be stitched or pasted prior to the context, wood can also be stitched or surficial weave with the help of thin wires and constructed into inorganic space. Introduction of paper bags and coloured motifs on it helps to create my own inorganic elements. With the help of watercolors I tried to execute cut-outs, various materials is explored layer by layer creating a metaphorical language. Pasted paper one on top of the other brings out the refinement of pictorial language. The foreground paper is cut into a well maintained boundary of surrounding elements. Figures are also represented from the day to day performance of the basic livelihood. The painting portrays a Girl from Fine Arts who intuitively represent the cultural aspect of present repulsiveness. The figure tries to exhibit her Identity of valueless entities like the household product of match boxes which become less important. Match box is an entertainment in viewpoint because commodities excel in every format with the help of image on top of its surface for advertising or publicity. Textile creates an impact to reach through the artwork of making relevant imaginative, lucrative and refined elements.

Born in 1965 in the small coastal town of Udupi in Karnataka, Gurudas Shenoy is an acclaimed artist with a career spanning over two decades. Having been born to senior artist G.S. Shenoy, he lived and breathed art since the day he was born, and developed a passion for the colours of nature at an early age. M.F. Husain, a close friend of his father's, was a mentor, and has hugely inspired Gurudas Shenoy's journey as an artist. He has held numerous solo exhibitions and participated in group shows at leading art galleries in India, including several at the Jehangir Art Gallery, Mumbai. Known for his abstract and vibrant cityscapes, Gurudas Shenoy graduated from the Faculty of Fine Arts, M.S. University, Baroda in 1988. Shenoy’s passion for nature and its brilliant hues, and cities with their vibrancy and multitude of stories, reflects in his paintings. Dexterous use of colours, lines, light and textures, forms the crux of his stunning abstract cityscapes, capturing the dynamism of architectural spaces with their historicity. Gurudas Shenoy also revisits landscapes from the past - vast abstract terrains, with their undulating surfaces and shadows on the ground. While his medium of choice is oil on canvas, the award-winning artist has a fondness for watercolours, and after much experimentation, he has managed to create a watercolour-like lightness in his oil paintings. Over the years, drawings, paintings, installations and murals have been a part of Gurudas Shenoy’s art practice. Several of his murals form prominent landmarks in various centres of the corporate world and his paintings and installations are located at corporate and private institutions and residences in India and abroad. A member of the South Kanara Art Council (SKAC) and the Bombay Art Society, Gurudas Shenoy was also the curator for M.F Husain’s museum, “Husain Sankalana”, in Bangalore, from 1991 till its closing in 2008. He is a recipient of the Bendre-Husain National Award by the Bombay Art Society, and has also founded the Shenoy Art Foundation, which support young, upcoming artists. Gurudas Shenoy lives and works in Bangalore.

Miniature paintings are the part of artistic culture, which gives historic experience and highlights the significant development of Indian art forms. Mughal Emperor is on the verge to enter the new anatomy of life, which is depicted by colours, lines and, simplicity and intense emotions. Here, the artist depicts about the readiness of the Mughal Emperor to face obstacles with a clear mindset about moving forward leaving behind all his inhibitions. He is trying to foresee his future knowing that the journey is going to be a long one. Moreover the use of monochrome indicates lack of options resulting in clarity of thoughts. Clouds and Mother Earth have not changed but everything in between has changed. A persistent person is self confident, independent and has lot of options but is overburdened by complexities, still trying to make a mark in this era, by holding the roots upright. Simple things have been modified into complex resulting in more confusion. Man is crushed by many external factors as well as fighting the internal conflicts has not lost hope and trying to rise again.

A self-confessed stubborn romantic, Bakula Nayak noses out the magic stifled in the everyday, and elevates the mundane into something bright, dreamy and unique through her art. With an undergraduate degree in architecture and an MS in Communication Design from Pratt Institute, Manhattan, Bakula began her career at a fragrance house in New York. Following this, she pulled a long stint in retail package design with global brands such as L’oreal, Mikasa and Ralph Lauren, before moving back to her hometown in Bangalore. Bakula’s passion for collecting vintage paper, fused with her love for imagining the life stories of people who owned them, translates into tangible works of art. She breathes new life into the now forgotten pieces of beauty by illustrating on them. Gorgeously aged vintage papers form the perfect canvas to interpret the realities of Bakula’s world. Her remarkable pen and ink drawings and illustrations, jam-packed with funny, delightful and eccentric characters – hatted birds, diving penguins, fish with pirate eye-patches, sleeping cats, and dancing flamingos – are both vintage and contemporary, new and old, timeless and unique. An unfinished inventory of her daydreaming and her love affair with all things vintage - her work reflects her longing for romance, aesthetics, poetry and seduction in everything. In her latest series, Bakula Nayak pays tribute to love in all its forms – not just romantic love, but the love of parents, love for things, her own love for tea, love for the family, friends, the earth, gardens and more. She also taken inspiration from the ancient Indian poet Kalidasa’s poem about love, Ritusamhara, interpreting the love between newly married lovers across different seasons in the year.

A self-confessed stubborn romantic, Bakula Nayak noses out the magic stifled in the everyday, and elevates the mundane into something bright, dreamy and unique through her art. With an undergraduate degree in architecture and an MS in Communication Design from Pratt Institute, Manhattan, Bakula began her career at a fragrance house in New York. Following this, she pulled a long stint in retail package design with global brands such as L’oreal, Mikasa and Ralph Lauren, before moving back to her hometown in Bangalore. Bakula’s passion for collecting vintage paper, fused with her love for imagining the life stories of people who owned them, translates into tangible works of art. She breathes new life into the now forgotten pieces of beauty by illustrating on them. Gorgeously aged vintage papers form the perfect canvas to interpret the realities of Bakula’s world. Her remarkable pen and ink drawings and illustrations, jam-packed with funny, delightful and eccentric characters – hatted birds, diving penguins, fish with pirate eye-patches, sleeping cats, and dancing flamingos – are both vintage and contemporary, new and old, timeless and unique. An unfinished inventory of her daydreaming and her love affair with all things vintage - her work reflects her longing for romance, aesthetics, poetry and seduction in everything. In her latest series, Bakula Nayak pays tribute to love in all its forms – not just romantic love, but the love of parents, love for things, her own love for tea, love for the family, friends, the earth, gardens and more. She also taken inspiration from the ancient Indian poet Kalidasa’s poem about love, Ritusamhara, interpreting the love between newly married lovers across different seasons in the year.

Bijoy Basak

DOB :10.12.1973

Born in Durgapur, West Bengal.

Bijoy Kumar Basak – In His Own Words

What we encounter in the course of our daily lives is usually viewed as repetitive, predictable and deserving of little curiosity. “The everyday”, to most, is nothing if not the mundane that we easily overlook. However, the artist in me is stirred by the little insignificants and the drama of the everyday. The artist in the journey of daily life must engage in relationships and activities that form the trivia of his existence. My works engage in conversations with these. However trivial they appear, they leave their imprints on the memory and each day becomes a significant date, even if only on the personal calendar.

In my work, the surface is no less a component. Through textures, fragile lines and subdued colours I construct my visual narrative. They tell stories of the eloquent untold. I have a preference for paper as the ground. Most of my works are in mixed media as, to me, the interplay of different media enhances the expressive capacity of my works.

Bijoy Basak

DOB :10.12.1973

Born in Durgapur, West Bengal.

Bijoy Kumar Basak – In His Own Words

What we encounter in the course of our daily lives is usually viewed as repetitive, predictable and deserving of little curiosity. “The everyday”, to most, is nothing if not the mundane that we easily overlook. However, the artist in me is stirred by the little insignificants and the drama of the everyday. The artist in the journey of daily life must engage in relationships and activities that form the trivia of his existence. My works engage in conversations with these. However trivial they appear, they leave their imprints on the memory and each day becomes a significant date, even if only on the personal calendar.

In my work, the surface is no less a component. Through textures, fragile lines and subdued colours I construct my visual narrative. They tell stories of the eloquent untold. I have a preference for paper as the ground. Most of my works are in mixed media as, to me, the interplay of different media enhances the expressive capacity of my works.

Bijoy Basak

DOB :10.12.1973

Born in Durgapur, West Bengal.

Bijoy Kumar Basak – In His Own Words

What we encounter in the course of our daily lives is usually viewed as repetitive, predictable and deserving of little curiosity. “The everyday”, to most, is nothing if not the mundane that we easily overlook. However, the artist in me is stirred by the little insignificants and the drama of the everyday. The artist in the journey of daily life must engage in relationships and activities that form the trivia of his existence. My works engage in conversations with these. However trivial they appear, they leave their imprints on the memory and each day becomes a significant date, even if only on the personal calendar.

In my work, the surface is no less a component. Through textures, fragile lines and subdued colours I construct my visual narrative. They tell stories of the eloquent untold. I have a preference for paper as the ground. Most of my works are in mixed media as, to me, the interplay of different media enhances the expressive capacity of my works.

Priya Kainikara Sharma speaks through textured and layered abstract surfaces, rich in colour, with a minimalist approach to compositional elements. Her work is informed by her passion for the arts, her love for textiles and through travel.

With a master’s degree in textile design from the National Institute of Design, Ahmedabad, Priya has worked in the Indian textile Industry for several years, before co-curating a design gallery in Singapore that promoted contemporary local and Indian art & design. She continues to pursue her interests in the creative field as a visual artist and design consultant from her studio at Kallang Pudding road, where she practices art and runs workshops, nurturing a constant dialogue with the local creative community.

The Panchabhoota series pays homage to the Elements- Earth, Fire, Air, Water and Space/Ether that are the essence of all that exists, including the self. The artworks result from a quest to answer existential questions and beliefs that have sought comfort in the pages of ancient Vedic texts.

Born 1968 in Orissa, spent his childhood in Cuttack and completed his Bachelor s Degree in fine art from Government College of Art and Crafts at Khalikote and Master’s from BHU Varanasi. A semi realistic painter his narratives revolve around partly clad men and women engrossed in their emotions. Human psyche and interpersonal relationships of people in society, is the underlying theme that engages the artists interest. The artist is currently based in Delhi.

My fascination for doors goes back to my childhood and student days in Kumbakonam. Growing up in the traditional Brahmin agraharams and spending years there made me ponder on the different worlds that existed behind each door. The way the light fell on the threshold, use of colours, materials used for the doors and walls… each has a tale to narrate of the house, its owners and their lives. Even the exterior surfaces of the doors have myriad tales to narrate,” explains the artist.

Door with Tassel 

Helen Crawford

Priya Kainikara Sharma speaks through textured and layered abstract surfaces, rich in colour, with a minimalist approach to compositional elements. Her work is informed by her passion for the arts, her love for textiles and through travel.

With a master’s degree in textile design from the National Institute of Design, Ahmedabad, Priya has worked in the Indian textile Industry for several years, before co-curating a design gallery in Singapore that promoted contemporary local and Indian art & design. She continues to pursue her interests in the creative field as a visual artist and design consultant from her studio at Kallang Pudding road, where she practices art and runs workshops, nurturing a constant dialogue with the local creative community.

The Panchabhoota series pays homage to the Elements- Earth, Fire, Air, Water and Space/Ether that are the essence of all that exists, including the self. The artworks result from a quest to answer existential questions and beliefs that have sought comfort in the pages of ancient Vedic texts.

The feminine physical imagery is often designed as what the male would like the woman to be i.e. beautiful, sweet, kind, sexy and decorative, as opposed to themselves, who are shown as determined, strong & brave. For centuries portraits of men were constructed with symbols, gestures and elements, which projected them as larger than life. The artist in this painting ‘Rebuilding the female’ explores creating imagery of a woman using elements and symbols as were often used in portraits of aristocratic men to study the effect.

For women and humanity at large, actions are interconnected. What a single woman dared to do or to oppose centuries ago has paved the way for woman of the present. The painting‘Strings Attached’ shows one such female Captain Lakshmi Swaminathan who led the INA’s woman’s wing. It was the first all-female Indian combat regiments of the Second World War which orginated in Singapore. The artist here tries to depict the chain and interconnectivity between the past, present and the future.

A brilliant colourist, Nayanaa Kanodia, an economist turned painter, is considered to be the pioneer of l’Art Naïf in India. She has held innumerable shows in India and abroad. Her paintings are in the collection of major art collectors and corporate houses all over the world. Musée d'Art Naïf Max Fourny - Halle Saint Pierre in Montmartre in Paris permanently displays her paintings. She exhibited and demonstrated her painting techniques in Victoria and Albert Museum in London and was chosen from all the artists of The Commonwealth Countries to have a solo show in then newly renovated complex in London. She has been featured in an international publication Women in Art by Reinhard Fuchs, a rare honour for an Indian artist. Impressed by the social messages conveyed in her paintings, a consortium of schools in Los Altos, USA uses her work as a medium of instruction to their students. She was also honoured with an award from Megh Mandal Sansthan, Ministry of Culture, Govt. of India in 2016. She is associated with many charitable societies, gives talks and conducts workshops and presentations on art in various organizations and universities. She is also a judge in art competitions. She has attended Art Camps in India, London, Sweden, Italy, Moscow, Greece, Thailand and Cambodia. Nayanaa’s work is characterised by the air of whimsy, flat bright polished surfaces and the extraordinary plethora of intricately worked shapes, details and patterns. She has portrayed India’s Society in Transformation as no artist has done before on such a huge time frame. Her works will serve as a record for the generations to come not only to their context. They also carry the most important yet universal social messages of our lives. Nayanaa says: “My paintings intend to make you feel that you are watching a snapshot of life at maximum preposterousness, exuberant and bursting with energy, idiosyncrasy and absurdity. The conversation I hope to create in my work is a certain truth of life and, on a deeper level, a well thought-out philosophy. Individuals may interpret my paintings in vastly disparate ways and each view will be equally logical and plausible, thought-provoking and intriguing.

For artist Irene Hoff, life is all about collecting stories, experiences, insights and inspiring the world to see what really matters. She does this by: taking on life adventures, small and big, doing the things she fears the most; by dreaming big and realizing her dreams such as getting Leonardo DiCaprio’s signature on one of her animal-art which she subsequently donated to ‘race animal extinction’; and last but not least, by making beautiful and alluring art. Irene works with mixed media, using acrylic on canvass, enriched with colorful printed patterns on special coated paper. “I love to work with large-scale pieces to create a big impact. “I often advise clients on the style that suits their environment best and incorporate personal influences, interiors, lifestyles and the clients’ vision to create the perfect match” says Irene. Irene feels we are losing the authenticity of who we truly are; losing our balance as humans. And once we lose our stability, we lose our freedom. The way we now live our lives not only causes damages to our body and soul, but also to our planet. For Irene, being in balance means having the ability to choose to feel good, inspired, loved, healthy, open and sensitive to all things and people that surround us. It means that our ‘energy source’ flows through and around us, uplifting ourselves and letting it shine on our environment. Her figurative art is not only a visual way of expression, but also a means of transferring ‘energy’ and insights to the person attracted to her work. She believes her art holds the potential of stirring positive thoughts, stimulating our ‘energy source’ and breaking down impeding feelings and beliefs. Irene’s art truly reflects who she is: her lightness of being, instinctive curiosity, unbounded humor, intense perceptiveness, and infectious positivism. She translates onto a canvass an illustration of her perceptions enthralled in emotional and spiritual growth at the time of creation. The imagery and symbolism she uses become a unique gateway in moving people, helping them to see the bigger picture and the roles that each of us has the potential to play.

For artist Irene Hoff, life is all about collecting stories, experiences, insights and inspiring the world to see what really matters. She does this by: taking on life adventures, small and big, doing the things she fears the most; by dreaming big and realizing her dreams such as getting Leonardo DiCaprio’s signature on one of her animal-art which she subsequently donated to ‘race animal extinction’; and last but not least, by making beautiful and alluring art. Irene works with mixed media, using acrylic on canvass, enriched with colorful printed patterns on special coated paper. “I love to work with large-scale pieces to create a big impact. “I often advise clients on the style that suits their environment best and incorporate personal influences, interiors, lifestyles and the clients’ vision to create the perfect match” says Irene. Irene feels we are losing the authenticity of who we truly are; losing our balance as humans. And once we lose our stability, we lose our freedom. The way we now live our lives not only causes damages to our body and soul, but also to our planet. For Irene, being in balance means having the ability to choose to feel good, inspired, loved, healthy, open and sensitive to all things and people that surround us. It means that our ‘energy source’ flows through and around us, uplifting ourselves and letting it shine on our environment. Her figurative art is not only a visual way of expression, but also a means of transferring ‘energy’ and insights to the person attracted to her work. She believes her art holds the potential of stirring positive thoughts, stimulating our ‘energy source’ and breaking down impeding feelings and beliefs. Irene’s art truly reflects who she is: her lightness of being, instinctive curiosity, unbounded humor, intense perceptiveness, and infectious positivism. She translates onto a canvass an illustration of her perceptions enthralled in emotional and spiritual growth at the time of creation. The imagery and symbolism she uses become a unique gateway in moving people, helping them to see the bigger picture and the roles that each of us has the potential to play.

Artist Zoya Chaudhary has been interested in the visual documentation and celebration of the local character and flavour of places. There is a realization that this character is quickly being lost. Modernization tends to erode these wonderful flavours as global media sells templatized lifestlye dreams to people around the world. The artist in her current series, tries to explore Singapore stories from her point of view, digging for cultural referenes and then juxtaposing them to form a seamless visual. According to the artist, her mind collects facts and figures, visuals, news, content together to make sense of places, people or situations. She thinks of her self as a visual writer who puts together a scene to represent the story. Life as an expat artist living in Singapore is like ‘living in a bubble’ the artist explains. She further explains that ‘Living in expat condos and moving around international schools, clubs, malls, watching western shows and global news can make one feel completely disconnected with the local community in any place. The newpaper and media is the only source of knowing what goes on in the local community. Thus the newpaper articles as a material forms a key part of the narrative. She uses relevant news paper articles as one of her mediums to construct the imagery. She says she has explored many parts of the city, first by reading about them, and then exploring those places physically. In her series ‘Lost & found- Singapore’ she depicts everyday scenes from various parts of Singapore, that have a very local flavour to them. Some of the works show places that have very recently been closed down.