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2019年7月25日

幸福的忧郁状态

存在框架

雷卡 Rao’最近的绘画系列‘幸福的忧郁状态’趋向于抽象-由粗线,离散的颜料和密集的纹理勾勒出的色彩领域。从概念上讲,她的作品以她对周围环境的反应为基础,采取观察性方法,同时还是瞬息万变的时代的积极见证。在这一系列作品中,她对生态的关注占据了主导地位,并代表了城市问题和挑战,例如困扰当地水体的问题和其他普遍的灾难性后果。最小的调色板描绘出令人回味的风景,有时柔和而微妙,而在其他时刻则大胆而又戏剧性。

幸福的忧郁状态, painting by artist 雷卡 Rao
红雨
雷卡’s artistic journey has been unusual and perhaps even extraordinary, a result of an amalgamation of coincidence, destiny and circumstances. Born in 1947, during the year that India gained independence, she grew up in an artistic and politically charged environment that shaped her art practice to a large extent. In a newly formed nation, artists grappled with notions of identity and with reconciling the past with current global phenomena and trends. Politics, society, tradition and geography were key to charting discourses in the creative fields and influenced 雷卡 as well.

As a child, from the age of four, 雷卡 sketched and painted alongside her father, who went through each and every work of hers with immense pride. Hebbar believed that a formal art education would hamper her individuality and creative expression and encouraged her to study Indian History. He continued to mentor her through discussions, debates and regular practice. Reminiscing about her father, 雷卡 writes, he once said, inspiration from his children, especially 雷卡 - ‘他的观点不断刷新我自己的艺术视野’.

幸福的忧郁状态, painting by artist 雷卡 Rao
黑蝙蝠
雷卡’s first art exhibition was held at Jehangir Art Gallery in 1969. The foreword to this show was written by Karl Khandalawala, an eminent lawyer and authority on Indian Miniature Paintings, who had also been a mentor to Amrita Sher-Gil. 雷卡 was married the same year and then travelled to Los Angeles where she lived for two years. Khandalawala was in fact, instrumental in introducing her to the art world in Los Angeles. The experience of living in the United States enriched her understanding of global art, and writings related to feminism, gender and social inequity deepened her world view. This enabled her to revisit, review and reposition her beliefs, theories and principles related to ‘home’ and art.

童年时代的记忆常常被描绘成画布上色彩的万花筒,她细说,“色彩具有在每幅画中体现和激发光的力量。”小时候,她父亲经常说绘画不是字面意义上的练习,必须向观众提供详尽的解释。 “但这是艺术家的故事,其词汇包括画布上的形状,表面,纹理和颜色。” 雷卡 remains a storyteller, weaving colours, textures and motifs into a layered narrative.

幸福的忧郁状态, painting by artist 雷卡 Rao
烘干衣服
2003年,她移居班加罗尔,此后一直住在这里。她继续积极工作以解决自己内心深处的问题,并为贫困妇女经营着一个非政府组织马里。她还是K K Hebbar Art Foundation的受托人,该基金会支持应得的艺术家和艺术项目。 


摘录自目录 ‘幸福的忧郁状态’, recent works by 雷卡 Rao, written by Nalini S Malaviya.


展览一直持续到8月4日,在班加罗尔Domlur的班加罗尔国际中心的Saanchi美术馆举行


All图片由艺术家提供


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2008年7月1日

班加罗尔:艺术品展示盛大

(Nalini S Malaviya)
在过去的几周中,这座城市的艺术风起云涌。最近几天,对于我们许多人来说,这是一场活动,参观了各种展览–照片,绘画,装置和混合媒体。
已经结束但值得一提的两个展览是-M N Jayakumar的野生动物摄影展,已经被广泛报道和报道,而且确实非常壮观。从野外有一些精彩的快照。然后‘Silent Symphony’精选艺术家Babu Jattakar的钢笔和水墨画,他偶然是Chitrakala Parishath应用艺术系的一名教师。黑白风景以传统风格呈现。它们非常出色-令人愉悦的成分,而且价格合理。

雷卡 Rao
另一个节目‘无国界艺术家’, features a group of women artists from across the country. With names like Arpana Caur, 雷卡 Rao, Asma Menon, Gogi Saroj Pal, and Naina Kanodia among others, it seemed promising. But the collection could have involved a larger body of works, which would have offered greater insights into each artist’s oeuvre.
雷卡’她的绘画与她先前的系列稍有不同,因为它增加了具象元素– a film poster - to her abstracted backdrop. Portraying the social issue of untouchability, 雷卡 has drawn from the legendary film actress Nutan’s defining film ‘Sujata’,也基于相同的主题。奈娜·卡诺迪亚(Naina Kanodia)’s的作品以照片般的视觉效果令人愉悦。这些人物似乎总是被时间暂停,被他们丰富的世俗财产所包围。 Arpana Caur以她的签名风格展示了Guru Nanak,而Gogi Saroj Pal’的作品比往常更被遗弃。
展览将在文艺复兴时期画廊再展出一周。
同时,万花筒2008今天拉开序幕,展出各种艺术家的作品。 它将于7月19日在Kynkyny美术馆展出。
米格·多达玛尼
最后,我想说,上周我感到很高兴和感动’的专栏至少吸引了一些热衷于展示自己的美术照片的摄影师。我很期待。

(在班加罗尔镜子出版)