In this day and age where digitalization seems to be taking over we at Dhoomimal try to put forth the importance of lines in an artist work and how all great masters in indian art history have had to have strong fundamentals to become great artists. also in this exhibition we try to explain to people how vast drawing is and is not something confined to black and white, or figures, or paper. Infact drawing has many varied forms but lines and strokes are essential. also in this market where there is a bit of a slow down the world over a drawing exhibition gives a chance to collectors to collect exquisite original works of art for much lesser prices as compared to a painting by the same artist.

Culmination of unparallel energy of human existence and passion towards life through strokes and colours is what abstract paintings done by Gurdeep Singh hold. Through gallery Navya he will be showcasing his recent paintings with audacious strokes within unequivocal parameters of pigments.

Abstraction in his work does occur with locking and unlocking of strokes. At times there is serene energy resting at places in between vibrating sensational spaces on canvas. Gurdeep's work involves and reflects his complete energy with intensity of loaded brush strokes, which works within them in vicarious manner. In total it's a new visual language far and beyond what is already known in visual art scenario of India.

This exhibition/performance invites its beholders to take part in a third space where patterns, as ideas and materializations, are investigated from diverse cultural backgrounds. It is composed by three female artists, Malathi Selvam, Kristina Matousch and Anna Laine, who have approached patterns as a subject from various perspectives. Malathi Selvam is a self-taught artist who bases her works on the kolam, an artistic practice often referred to as a form of indigenous craft. She has developed the practice in a personal manner, incorporating elements from photography as well as popular religious art, in turn influenced by the colonial art schools. Kristina Matousch is trained and well acknowledged within the Western institutionalized art scene, but unfamiliar with the Indian audience. Her works, engaged in the ordering aspects of patterns, everyday life, and the relation between inside and outside, have connections with the daily kolam practice and often take forms as performances. Anna Laine is a doctoral student in anthropology with a background as an artist, and as such working in the overlap between academia and practice. Her research concerns the kolam, and she relates the Indian practice and its patterns to rhythms, as well as parallel Western constructions of femininity. The former artist is from Tamilnadu, while the two latter are from Sweden. Apart from their common interest in patterns, they engage in an aesthetic that is relational and thus concerns an interaction between audience, artists and art works.

The working process of ‘Performative formations’ has allowed for both playfulness and conundrums. The artists have engaged in learning and appropriating from each other, and each other’s environments, constantly exploring culturally constructed, but often naturalized, categories. In the Palm Court Gallery, the audience is invited to continue this process, and reflect on issues that concern the particular and the universal in our ways of being. The aim is to present a contact zone where both deconstruction and reconstruction is possible.

Lekha was born in India but has been living and working in Geneva for many years, and has been exhibiting her works there regularly since 1992. This is her first exhibition in India. 

The most striking element of Lekha’s works is their liveliness. These works are an expression of feeling, of being wonderstruck by life – regardless of whether the events are happy or unhappy. They create harmony between abstraction and representation, and between turmoil and the order that comes from disciplining divergent strands into an integrated whole, held together through a tension that is intrinsic to her creative impulse. Lekha uses a mixed technique using sharp-edged flat cards to paint with acrylic rather than the conventional brush.

The exhibition features an interesting amalgam of some of the most creative contemporary artists capturing the diversity of the spirit of Indian art. These magical moments grab attention and conduct a dialogue with the creation and the creator. The vibrant artistic expressions marked with vigor and vitality not only reflect the mental and physical state of the artist but also highlight the diverse and unifying nature of contemporary Indian art.

These repositories of Images seek to break down the boundaries between rationality and irrationality. It does so by exploring the revolutionary energies of dreams and desire. Influenced both by the Symbolists , poetry of Louis Aragon and by Sigmund Freud's theories of the unconscious, Une Vague de rêves experiments with the free association of random images and fantasies brought together in juxtaposition.
The censorship of our consciousness acts frequently to limit our understanding of images and prevents our mind from perceiving the myriad analogies and symbiotic relationships between subjects.
The absence of an immediate context allows the image to be released from the logic of reasoning. It metamorphoses the dreams that could only be understood by abstract reasoning.
When we dream we are liberated from this self created discernment and we release the bonds, set free the images to take their own forms. Upon further observation, the lines between our inner and outer realties also become blurred.

Une Vague de rêves explores these blurred lines, in understanding dreams through images, the viewer becomes the seer.

BACKGROUND OF THE EXHIBITION

Women are making their mark felt in all spheres of life. Expert homemakers and nurturers over centuries, today they are visible everywhere. She wields ladle, baton, broom, brush or the wand of words, her healing influence and positive energy are palpable across the country and overseas.

In this century of women’s empowerment, a disturbing trend rankles: female foeticide is on the rise across the country. It is disappointing that on one hand society is gaining confidence in women but on the other hand it is killing the unborn girl child.

The exhibition “DELIGHTING IN DAUGHTERS” is a celebration of the girl child and of women’s empowerment. It is an exercise that set out to demonstrate the achievements of women and their changing status in society.

The overwhelming message that this exhibition conveys is to celebrate the girl child and to remind the Indian family to delight in its daughters