Saturday, January 20, 2018

Reminiscing Evoloution - Works by Appajaiah K S

Appajaiah K.S is an artist, teacher and an arts administrator at the College of Fine Arts, Karnataka Chitrakala Parishath. The traditional Mysore paintings has inspired and enriched Appajaiah’s sensibilities from his early days. The language of the iconic paintings that encapsulate lyrical linearity have been sacred and profane subjects.

Being a modern artist, he has been carrying the pressures of tradition to speak about the self in diverse ways. His show, ‘Reminiscing Evolution’, is a culmination of many explorations, from the memories of his own childhood, from growing up in an agricultural family that was coming to terms with the new realities of change and conflict, Appajaiah has managed to incorporate all of this by working with traditional materials like gesso, gold leaf and vibuthi blocks (sacred ash) in the form of painting and installations. Additionally, there is a conscious effort to speak about himself through photographic images, taken and borrowed from his own family albums. These images are autobiographical in nature and confront us to unravel many personal narratives of anxiety, tensions between the private and public, and the juxtaposition of tradition and modernity.

Appajaiah’s work also looks into the exploration of material, seen as an interesting indulgence, that uses the vibuthi blocks as a metaphor to represent building blocks, further inscribing images of the self and his lived reality on these supposed building blocks. It constructs another reality of fragile memories for us.

Sunday, January 14, 2018

This must be the place - Exhibition of Photographs and Drawings by Lukas acton

Construction sites are zones of destruction, transition and re-creation. For a short time, a place becomes inhabited and animated by workers who will probably cannot afford living in what they are building. May the assignment of an architect be highly valorised in this society, the labour of construction workers will become unnoticed and stays unthought of. Their art of construction and creation will be there in a very concrete way but also vanishes as their outcome becomes a vessel to be filled with other people’s lives. This photographic essay captures this place of transition to catch some insights of in site ready-mades or ready-to-be-mades admiring their installation work in an artistic sense. This Photo essay is juxtaposed with another set of works-- THE HAIR ON MY BODY HAS BECOME HAPPY, a large-scale drawing installation inspired by and based on studies of Indian paintings and celebrates same sex desire. Lukas works as a photographer, screen printer, illustrator and artist in Bern, Switzerland. In 1 shantiroad studio/gallery he will be showing his recent works from travelling through South India and staying in 1 shanthiroad for 5 weeks.

Friday, December 22, 2017


Walls carry memories. They are mute witnesses to the passage of time. Just as memories collect and fade to be overridden by new memories, traces on walls recall the familiar in an undefined way. Remnants of the past linger, enabling a nostalgic travel through time, into the imagination. For some time now, my muse has been the shabby, rundown walls of buildings in my city, Mumbai - walls without history, character or evident beauty; functional, yet filled with traces of time etched onto their surfaces.

With a view to extending my work to another city, I came to Bangalore. Here, I learnt about the administration’s wall beautification project. Local artists painted murals recalling memories of Karnataka’s cultural and natural habitat. The wall paintings, meant to serve as a deterrent to defacement, however, have since been marred in many parts of the city, and also undergone natural degradation. When Suresh Jayaram suggested that I photograph these painted walls of Bangalore, I was a bit doubtful, but decided to give it a try despite my reservations. To my surprise and delight, this exploration has given a whole new look and feel to my work. Whilst the process that I follow is the same, the resultant images are quite different from those I made in Mumbai.

My work records both memory and change. Change ensues from the many interventions that happen over a period of time. Layers of paint, posters, dirt and grime accumulated one on top of the other undergo various kinds and stages of degradation. Their transition through time is both imperceptible and insidious - gradually changing form. The beauty of the resultant visual is easily overlooked. It is overshadowed by the overtly soiled walls that turn away the gaze of the viewer.

My photographs attempt to capture that which is overlooked - the beauty of the passage of time on walled surfaces – evoking memory, erasure, and transience simultaneously. 

Saturday, December 16, 2017


Am I a homemaker? Am I an artist? Does my role as a homemaker take away from my identity as an artist?

The eternal questions of identity, gender roles, patriarchy and conditioning all get thrown in the mix while trying to prioritize family and making art alongside. My work is an attempt to address the set notions about domestic life and also to celebrate the multiple roles within.