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。
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| 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’.
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| 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.
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| 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
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