An alumnus of the Government College of Arts and Crafts, Chennai, Perciyal trained in painting (BFA) and printmaking (MFA) and progressed to self-portraiture, conceptual installations, and found assemblages after she received a junior research grant to work at the Lalit Kala Studios in Chennai. Through printmaking, she discovered the qualities of surface, texture, and positive/negative space, which expanded to three dimensional work employing the corporeality of touch. Her transversal practice comes forth in her solo exhibition, Aggregate at Galerie Mirchandani + Steinruecke, Mumbai (August 8- October 15, 2019), firmly embedded in figurative and representational forms, and also exploring minimalist abstraction.
Eyes—alert and alarmed—pop out of P. R. Satheesh's paintings. Their gazes evoke the aftermath of a tense encounter, its charge still lingering. With this focus on the ocular, and the interplay of consciousness it suggests, the differences between Satheesh's subjects—be they human, fish, or insect—seem not to matter. They all appear troubled or shocked, much like the men and women who bare their teeth in F. N. Souza's paintings, here jostling for space in dense compositions made between 2014 and 2019.
Ratheesh T.'s oils on canvas at Galerie Mirchandani + Steinruecke, Mumbai, from the 5th of September to the 20th of November, seem to defiantly guard aspects of life that come to constitute meaning and identity within his immediate community.
Having trained as a painter at Maharaja Sayajirao University’s Faculty of Fine Arts in Baroda, Rajan became one of the youngest members of the highly politicized but short-lived group, the Radical Painters and Sculptors Association. Active from 1985 to ’89, the group aggressively rejected the narrative tendency of earlier Indian artists.
Everyday scenes from Kerala through the sophisticated painterly eye of Sosa Joseph
A master storyteller, Bhupen Khakhar is regarded in his native country and internationally as one of the most important Indian artists of the last 30 years. Although noted for a pictorial language that is deliberately hybrid—a mix of Indian folk-art traditions and modern European realism, sex and religion, modesty and flamboyance—Khakhar is most commonly lauded for pioneering a new contect for homosexuality in Indian art.