With their sombre palette, haunting quality, texture-laden dense hues still glimmering with hints of hope, Indrapramit Roy’s recent works of his solo show ‘Soliloquy’ at Threshold Art Gallery are an eyeful for all of us, emerging from the shadows of the Corona Pandemic.
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‘Epigraphica Indica’ pulls the viewer inward, and is a powerful reminder of the complexities of culture, identity, and belonging – and everything we take for granted in this contemporary, virtually driven world.
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Khimji’s work animates a gaze on the body that conforms to, and in tandem, deviates from reductive tropes. Through an exercise in de-sexualisation, the female nude is stripped of its historical weight as the artistic ideal, and re-examined as a body in transit—a revelatory, yet equally opaque script of desires.
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At once personal and political, Saraf creates islands and clusters around her works, while speaking up about issues that currently dominate our newspapers, and are in circulation all around us. Literature and criticism is also drawn in, sometimes through quotes accompanying artworks and at other times as references.
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Despite some exceptions, the show has appeared as the inner urge of a community to be close to the people next door. Subsequently, this perspective of the post-covid art world becomes a hallmark by looking at their foundation and soil. The concept of home itself can be seen as an essential visual metaphor of many works.
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In this show it is tempting to ask oneself; what home does Samanta seek? Is it a cocoon? A place to germinate? Or something amorphous, constantly evolving and shape shifting, as explored in a series of ten diptychs, that the show is named after?
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Shreya’s fascination lies at challenging perspectival, perceptive, and pre-conditioned notions in the processes of form making that keeps evolving with a touch of surprise or sublime. Among the rigorous built structures of her works are careful endeavour that results in moments of silence, of calm.
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A truant pebble disturbs the otherwise clean, unwavering lines of the pavement in Tiananmen Square. One feels the urge to push it aside, restore the harmony of the composition. It’s impossible to do so as a viewer standing in front of an image. It also must not have been an easy task for those standing around while the image was made.
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Archive, by nature, is based on a series of selections and deletions, the motivation being to preserve material deemed most representative of the production in question. I look at these questions through the processual journeys of the artists, spaces and productions to see if or how the notion of the archive extends beyond its traditional role as static repositories of information.
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My filter for books is purely an integrity of purpose and the creation and articulation of new bodies of knowledge. Books featured across this issue include those on paintings, botanical drawings, photography, cinema, textiles, design, architecture, ecology, children’s publication, material culture, exhibition catalogues and more; all made public within this new era of the Anthropocene.
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