If CIMA Gallery is showcasing its Summer Show 2010 till mid-August, Studio21 is exhibiting a collection of works by 14 artists, all part of various displays previously organised by the 17L Dover Terrace address. Titled Monsoon Mix, the collection includes paintings in varied media, prints and a lone sculpture/installation.
Animal Within, artist/animator Sourav Chatterjee’s horizontally expanded work, welcomes visitors to the display. One who plays around with texture as much as movement, Chatterjee smiles when spoken about the dynamic reflected in his acrylic-on-canvas triptych; the sense of motion suggested through flowing earth-toned strokes over a dark backdrop.
Fluid lines also characterise Sambaran Das’s smaller pen-on-paper works, his penchant for formative interpretations through known figures marking an interesting aspect of his essentially expressionist art.
Forms get yet more fragmented in Rahul Wagh’s mixed media creations, apparently disjointed images that create a new whole.
Similar fragmentation is offered in the irrepressible Gautam Khamaru’s pseudo-mythical creatures that seem to leap out of their frames, created in his characteristic vibrant tonal palette for this particular series of figurative abstracts.
Layered application also characterises Sougata Das’s neo-cubist figurative works in strong tones like Savage.
If Chatterjee and Anand Prakash use acrylic as a tonally diverse medium — the latter’s untitled works especially creating stark tonal contrasts, sinewy inner images that are muted in tone yet screaming with emotive agony — Gauri and Satya Dheer Singh share as much a stylistic similarity as in media. Details form an emphatic facet of their visual language; Singh chooses pen-and-ink to add minutiae to his work The Golden Umbrella, while earthy shades characterise Gauri’s Novel or Expression, matte effects achieved through flattened strokes applied in a unidimensional manner.
Details also characterise Sujit Karmakar’s stark images of shattered childhood dreams, usually duochrome large bromide prints which are later finished as acrylic-on-canvas works.
On second view, though, his recurrent metaphors of paper boats and safety pins seem to over-emphasise his art’s message.
If the spectral is at one end of the show with Hemant Rao’s mixed-media works, their whitewashed backdrops emphasising recurrent linear motifs in tiny universes of their own, reality is served with a pinch of humour in Sunil Chandra Pal’s leopard-on-four-poster-bed The Lair or a fancy-dressed Shiva in a deerskin walking the central city’s streets in Tandava On Earth, heavily influenced by graphic novel art.
The humour is underscored in Harish Ojha’s apparently simplistic acrylic couple, named Folk Culture. Using dry brush, Ojha conjures toy-like figures with an effect akin to dry pastel, the paper white in sharp contrast to concentrated bursts of colour blooms.
The young Sayak Mitra’s Agonies of The Time series of digital prints on archival paper speak up against their backdrop of screaming newspaper headlines, heavy with shades of violent crimson.
Juxtaposed against such blooms, the lone sculpture on display, Anup Mondal’s aluminium wire-and-wood work Blake’s Lamb is a forlorn image of muted suffering.