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regular-article-logo Friday, 19 April 2024

Online exhibit of minimal art works by Chetnaa

The event was presented by Anupa Mehta Arts explored tendencies and potentialities of square space, recently previewed online on Instagram

The Telegraph Published 21.06.21, 03:23 AM

Sourced by the correspondent

An online exhibition titled P=4L {Deconstructing Square Space} featuring three new suites of monochromatic minimal works by New Delhi-based artist Chianti, represented by Anupa Mehta Arts, exploring tendencies and potentialities of square space, recently previewed online on Instagram.

The three works called Ombres (shadows), Presence | Absence, Lines in a Grid will be on display till June 24 on the Instagram pages of Anupa Mehta Arts and represented artist, Chetnaa (@anupamehtaartsandadvisory @chetnaac).

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“AMA is extremely proud to present the work of a rare young minimalist. I have been working with Chetnaa for a few years prior to representing her. Her artistic trajectory is proof of growth. Some of India’s better known collectors, such as KNMA, Motwani Jadeja Foundation and JSW Foundation have her works,” said Anupa Mehta, director, Anupa Mehta Arts.

“Ombres, imbibes my love for formal simplicity through a geometric form and the absence yet the presence of a colour coupled with a labyrinth of shadows it leaves behind… As per minimalist definition, the works are not trying to imitate or represent any found object or reality, instead I want my viewer to respond to what’s in front of them. Presence | Absence, is a systematic exploration of the combinations and compositions that can be created within self-imposed parameters. Lines in a Grid, explores my preoccupation with that of an elemental form and lines. The simple yet the tenuous weaving of thread through paper brings forth a new order to my minimal geometric musings on paper,” said Chetnaa about her works. Her geometric abstractions are drawn largely from the landscape and architecture of her city: keen observations of the metropolis translated into an eloquent schematic of lines and markers. Initiated as symmetrical arrangements, Chetnaa’s work reveals the need to deconstruct the order she once sought, so as to build a new geometric logic that feeds her minimalist aesthetic.

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