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THE VISCERAL ABSTRACTS Hariraam is today an accomplished abstractionist who pursues pure non representational forms in his paintings. His artistic trajectory determined his visual language of abstraction in a rema...
THE VISCERAL ABSTRACTS
Hariraam is today an accomplished abstractionist who pursues pure non representational forms in his paintings. His artistic trajectory determined his visual language of abstraction in a remarkable suite of works titled "Enigmatic Staging of Indistinct Forms". Hariram, who initiated his forays into the world of art through landscapes and human imagery, evolved his vocabulary and language progressively until he arrived at his abstraction in 1999. The intensity of purpose and dedicated mission of persistent artistic quest for a visual language of pure abstraction found success and fulfillment in this recent suite of works. This series is autobiographical unfolding his journey, which led from his creative struggles, depressions, hallucinations, subconscious dreams like out of body experiences, intuitive guidance, soul searching, and perceptual experiences; in other words struggles that bore rich dividends of seeking and achieving ‘abstract’ success.
The ‘enigmatic’ and ‘indistinct’ forms finds evocative representations dredged out from his subconscious; and have references to lived reality both perceptual and dream states, made manifest through intuitive handling of techniques and tools. Hence the liminality of crossing over to a world of subconscious and dreams has staged the enigma of indistinct forms. With this philosophy, his approach to art making has echoes to the surrealists’ invention of the techniques known as automatism when forms seem to suggest themselves and paranoiac critical method or a deconstruction of the psychological concept of identity, wherein subjectivity becomes the primary aspect. Both these techniques aptly illustrate the workings of Hariraam’s abstracts, which are the means to his process of making art. Automatism becomes apparent in the suggestion of forms that are inherently vertical and a ubiquity in this particular suite of works. Their juxtapositions with dominant horizontal bands recreate faint echoes of the Stonehenge and hence mystery; evoking in the artists work a sense of architectonic character. The insistent verticality of forms also suggests the aspiring spirituality of the Gothic cathedrals and its formality accentuates the dignity of the compositions. In some the eerie pinks and blacks have an aura of fierce magical play with bizarre faces emerging from the backgrounds suggesting not only enigmatic effects but hauntingly mysterious silences. As a matter of fact, a glance at these enigmatic indistinct forms bear an echo of his landscapes that have now withered to concrete forms and shapes resulting in the minimalization of nature to its pure essence. This marks Hariraam’s posturing of moving beyond and transcending to the realm of metaphysical.
The paranoiac critical method involves negotiating his subjectivity in establishing the language of abstraction ideally through his individuated creative attitude and approach. The identity of the artist is made manifest through distinct and novel means as his methodology of painting, tools, techniques and concepts encapsulating in the process angst, doubts and tensions as part of the artistic journey eventually leading to the deconstructing of his persona.
The small format works have tactility and sketchiness juxtaposed with structuredness. Versatility in the engagement with his medium of acrylics, printmaking and mixed media is obtained through application of paint with brushes, or smeared, dabbed, blotted, streaked, and dripped with brushes, squeegees, and other means. The aesthetics of enigmatic paint textures creates sensuous rich visual dynamics, complemented by the irregular, overlapped, and compressed forms from his brush strokes that make his art “gestural” or “painterly” in character. This approach is in direct contrast to earlier structured geometry inspired by the urban architecture. For Hariraam the binary of control and spontaneity now marks a saliency to making abstractions.
The works reflect deeply inscribed philosophy, introspection and catharsis achieving mystical ecstasy through his reticent play of forms with sublimation occurring in the finiteness of time and space. The ‘reality’ in his abstracts is the conceptual plane – a space which is transcendent and beyond time; establishing the presence of not here and now but ‘beyond’. Along with the forms, the colours have become stronger, intense, magical, haunting and vigorously vibrant; reinforcing the transcendence as they move from the greens and browns of the meadows and mountains, the ubiquitous kumkum reds, the pragmatic yellow ochre the sacred turmeric yellows, the intimate blues, the mysterious coal blacks and to the pristine spirituality of the whites. For Hariraam the sublime is not "out there", as in a landscape or painting, but "in here", related implicitly with his perceptual and intuitive experiences, thus achieving a state of bliss or abstraction where pristine forms exist in its absolute purity.
MS. ASHRAFI S. BHAGAT PH.D.
ART HISTORIAN AND ART CRITIC
FORMER HEAD AND ASSOCIATE PROFESSOR
CHENNAI
JANUARY 2016
_______________________________________________________________________________________________________
AN ABSTRACT JOURNEY
The language of abstraction has been explored by many in India and has flowed like a parallel river with figurative language and narration
Hariraam fondly recollects his student days at the Kalamandir School of Art. But his abstract journey has gathered wings from schools of Cholamandal and Mumbai.
If one need to appreciate abstraction one needs to understand the grammar of this visual language and the art historical context that have led to this abstract journey. We can look at abstraction beyond the fundamentals of color, line, form and texture.
The indigenous abstract art in India was an alternative trajectory with the neo-tantric artists riding high on the wave of exotic and spiritual rediscovery of India by the west. The romance with the spiritual, yoga, transcendental meditation, tantrum and classical music led to exotic orientialisation of India. The patrons of art during the 70's and 80's identified with this quest and nurtured all forms of abstraction practiced in the country as quintessentially Indian and authentically local contributions to the postmodern era. Abstraction in contemporary Indian Art is not specific to any geographical region but it has been nurtured in Mumbai as an institutional aesthetic in the JJ School. The reasons are many and it has survived the excess of figuration that is prevalent today.
The two significant modern strains are the abstract expressionism and minimalism from the west. The artists of that time were evolving a synthesis of images, emotions and ideas. Most Indian artists were in the process of exploring another reality, beyond figuration. The world witnessed the "cold war" and the "free world" identified with the sense of the spirit of abstraction. The French influence of the meditative gestural abstraction or the school of Paris and Nicholas De Stael became a mantra to emulate.
The dominant figure moved away to make way to the signs of human presence the pigment was applied in masonry technique of plastering with a palette knife. The picture plane shifts into a non-linear dimension of color field abstraction The artists choose to flow two streams - nature-based abstractions where nature's sensations were translated into color evoking the remembered landscape. The other moved to discover a metaphysical journey traveling into the spiritual journey of self discovery within.
Neo-tantric inspired work and an involvement with archetypal geometry and calligraphy was another trajectory. The artists weave patterns with motifs and text on canvases dyed with elemental and saturated colors of this vibrant land. The bindus and yantras became motifs of meditation and the transformation of sound echoes into form, color and sacred geometry. The layered surfaces with spontaneous gestures and calligraphy were typical; the archetypal feminine energies are unleashed to evoke the forces of nature.
Historically the only manifesto by J.Swaminathan endorsed this indigenous abstract journey with his democratic manifesto of Group 1890. Artists dissect matter to reveal never endings and dynamic molecular movements that are the part of the rasa or essence of life; they track the fundamental organic quality and linearity is transformed into lyrical notations in the hands of others that trace the circuit of charged particles in a maze to unravel the matrix of life.
The meditative canvases of Hariraam are testimonies to control the rhythmic notations of echoes and endless variations of patterns in a grid. Is he the archetypal weaver who catches the light in the warp and weft or woven tapestries ? A transcendental journey was chartered by him and other individuals like K.C.S.Panicker who incorporated calligraphic abstraction as an idiom in a quasi spiritual and scientific vision.
The unraveling of sacred geometry and archetypal signs and symbols, saw new modes of perception of the abstraction by the minimal notations. The references to symbolic forms evolved from ritual and religious involvement of local folk. This was translated on to the canvas to connect imagery with decorative intent rather than a religious evocation of divine iconography. The biomorphic forms arch and curve to construct multiple possibilities to use brilliant hues. The artists play with surface and depth, transcendental invocation of minimal geometry and spatial dimensions in the tradition of Cholamandal.
The use of cartography in space takes wing in younger contemporaries, as they trace the terrestrial and celestial trajectories in graphic notations. They mapped the earth from space and follow the movements of the cosmos like artistic astronomers. With his universal symbols, signs and aviation notations, Hariraam transcends the self from local to global aesthetic and graphic sensibilities.
The JJ School tradition mastered the art of gestural abstraction; layering pigments and overlapping with his gestures. The expressionistic strokes inscribe calligraphic, hieroglyphic notations on the surface. This is superimposed by a dominant color that reveals fragments of light and color. This structure the canvas with linear notations that pin and punctuate poetry from the palette.
Abstract painters and their practice are like parallel rivers flowing with excess of figuration. The many fellow travelers support the journey of another way of looking. The collective learns from each other and evolves distinctive styles that give a vocabulary and identity defining their journey.
It is the spiritual yatra from the terrestrial, an inward journey of meditative mantra of self-absorption. This is a private getaway from the humdrum of the urban chaos into silence and solitude, into monologues with colors, gestures and canvas. Within this paradigm, it has the danger of being self-absorbed aesthetic; exercise without an edge. The accomplished practitioners transcend and renew themselves within their limitations; mutating and surviving in the divergent space, negotiating the metaphysical and aesthetic innovations.
Hariraam's art has matured into his own; his persistence and quiet temperament has created sublime creations of gestural and layered abstractions using the printmaking roller, his technique displays a sense of control and meditation.
Suresh Jayaram
( A visual artist, curator and art historian)
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BIODATA
THE VISCERAL ABSTRACTS
Hariraam is today an accomplished abstractionist who pursues pure non representational forms in his paintings. His artistic trajectory determined his visual language of abstraction in a remarkable suite of works titled "Enigmatic Staging of Indistinct Forms". Hariram, who initiated his forays into the world of art through landscapes and human imagery, evolved his vocabulary and language progressively until he arrived at his abstraction in 1999. The intensity of purpose and dedicated mission of persistent artistic quest for a visual language of pure abstraction found success and fulfillment in this recent suite of works. This series is autobiographical unfolding his journey, which led from his creative struggles, depressions, hallucinations, subconscious dreams like out of body experiences, intuitive guidance, soul searching, and perceptual experiences; in other words struggles that bore rich dividends of seeking and achieving ‘abstract’ success.
The ‘enigmatic’ and ‘indistinct’ forms finds evocative representations dredged out from his subconscious; and have references to lived reality both perceptual and dream states, made manifest through intuitive handling of techniques and tools. Hence the liminality of crossing over to a world of subconscious and dreams has staged the enigma of indistinct forms. With this philosophy, his approach to art making has echoes to the surrealists’ invention of the techniques known as automatism when forms seem to suggest themselves and paranoiac critical method or a deconstruction of the psychological concept of identity, wherein subjectivity becomes the primary aspect. Both these techniques aptly illustrate the workings of Hariraam’s abstracts, which are the means to his process of making art. Automatism becomes apparent in the suggestion of forms that are inherently vertical and a ubiquity in this particular suite of works. Their juxtapositions with dominant horizontal bands recreate faint echoes of the Stonehenge and hence mystery; evoking in the artists work a sense of architectonic character. The insistent verticality of forms also suggests the aspiring spirituality of the Gothic cathedrals and its formality accentuates the dignity of the compositions. In some the eerie pinks and blacks have an aura of fierce magical play with bizarre faces emerging from the backgrounds suggesting not only enigmatic effects but hauntingly mysterious silences. As a matter of fact, a glance at these enigmatic indistinct forms bear an echo of his landscapes that have now withered to concrete forms and shapes resulting in the minimalization of nature to its pure essence. This marks Hariraam’s posturing of moving beyond and transcending to the realm of metaphysical.
The paranoiac critical method involves negotiating his subjectivity in establishing the language of abstraction ideally through his individuated creative attitude and approach. The identity of the artist is made manifest through distinct and novel means as his methodology of painting, tools, techniques and concepts encapsulating in the process angst, doubts and tensions as part of the artistic journey eventually leading to the deconstructing of his persona.
The small format works have tactility and sketchiness juxtaposed with structuredness. Versatility in the engagement with his medium of acrylics, printmaking and mixed media is obtained through application of paint with brushes, or smeared, dabbed, blotted, streaked, and dripped with brushes, squeegees, and other means. The aesthetics of enigmatic paint textures creates sensuous rich visual dynamics, complemented by the irregular, overlapped, and compressed forms from his brush strokes that make his art “gestural” or “painterly” in character. This approach is in direct contrast to earlier structured geometry inspired by the urban architecture. For Hariraam the binary of control and spontaneity now marks a saliency to making abstractions.
The works reflect deeply inscribed philosophy, introspection and catharsis achieving mystical ecstasy through his reticent play of forms with sublimation occurring in the finiteness of time and space. The ‘reality’ in his abstracts is the conceptual plane – a space which is transcendent and beyond time; establishing the presence of not here and now but ‘beyond’. Along with the forms, the colours have become stronger, intense, magical, haunting and vigorously vibrant; reinforcing the transcendence as they move from the greens and browns of the meadows and mountains, the ubiquitous kumkum reds, the pragmatic yellow ochre the sacred turmeric yellows, the intimate blues, the mysterious coal blacks and to the pristine spirituality of the whites. For Hariraam the sublime is not "out there", as in a landscape or painting, but "in here", related implicitly with his perceptual and intuitive experiences, thus achieving a state of bliss or abstraction where pristine forms exist in its absolute purity.
MS. ASHRAFI S. BHAGAT PH.D.
ART HISTORIAN AND ART CRITIC
FORMER HEAD AND ASSOCIATE PROFESSOR
CHENNAI
JANUARY 2016
_______________________________________________________________________________________________________
AN ABSTRACT JOURNEY
The language of abstraction has been explored by many in India and has flowed like a parallel river with figurative language and narration
Hariraam fondly recollects his student days at the Kalamandir School of Art. But his abstract journey has gathered wings from schools of Cholamandal and Mumbai.
If one need to appreciate abstraction one needs to understand the grammar of this visual language and the art historical context that have led to this abstract journey. We can look at abstraction beyond the fundamentals of color, line, form and texture.
The indigenous abstract art in India was an alternative trajectory with the neo-tantric artists riding high on the wave of exotic and spiritual rediscovery of India by the west. The romance with the spiritual, yoga, transcendental meditation, tantrum and classical music led to exotic orientialisation of India. The patrons of art during the 70's and 80's identified with this quest and nurtured all forms of abstraction practiced in the country as quintessentially Indian and authentically local contributions to the postmodern era. Abstraction in contemporary Indian Art is not specific to any geographical region but it has been nurtured in Mumbai as an institutional aesthetic in the JJ School. The reasons are many and it has survived the excess of figuration that is prevalent today.
The two significant modern strains are the abstract expressionism and minimalism from the west. The artists of that time were evolving a synthesis of images, emotions and ideas. Most Indian artists were in the process of exploring another reality, beyond figuration. The world witnessed the "cold war" and the "free world" identified with the sense of the spirit of abstraction. The French influence of the meditative gestural abstraction or the school of Paris and Nicholas De Stael became a mantra to emulate.
The dominant figure moved away to make way to the signs of human presence the pigment was applied in masonry technique of plastering with a palette knife. The picture plane shifts into a non-linear dimension of color field abstraction The artists choose to flow two streams - nature-based abstractions where nature's sensations were translated into color evoking the remembered landscape. The other moved to discover a metaphysical journey traveling into the spiritual journey of self discovery within.
Neo-tantric inspired work and an involvement with archetypal geometry and calligraphy was another trajectory. The artists weave patterns with motifs and text on canvases dyed with elemental and saturated colors of this vibrant land. The bindus and yantras became motifs of meditation and the transformation of sound echoes into form, color and sacred geometry. The layered surfaces with spontaneous gestures and calligraphy were typical; the archetypal feminine energies are unleashed to evoke the forces of nature.
Historically the only manifesto by J.Swaminathan endorsed this indigenous abstract journey with his democratic manifesto of Group 1890. Artists dissect matter to reveal never endings and dynamic molecular movements that are the part of the rasa or essence of life; they track the fundamental organic quality and linearity is transformed into lyrical notations in the hands of others that trace the circuit of charged particles in a maze to unravel the matrix of life.
The meditative canvases of Hariraam are testimonies to control the rhythmic notations of echoes and endless variations of patterns in a grid. Is he the archetypal weaver who catches the light in the warp and weft or woven tapestries ? A transcendental journey was chartered by him and other individuals like K.C.S.Panicker who incorporated calligraphic abstraction as an idiom in a quasi spiritual and scientific vision.
The unraveling of sacred geometry and archetypal signs and symbols, saw new modes of perception of the abstraction by the minimal notations. The references to symbolic forms evolved from ritual and religious involvement of local folk. This was translated on to the canvas to connect imagery with decorative intent rather than a religious evocation of divine iconography. The biomorphic forms arch and curve to construct multiple possibilities to use brilliant hues. The artists play with surface and depth, transcendental invocation of minimal geometry and spatial dimensions in the tradition of Cholamandal.
The use of cartography in space takes wing in younger contemporaries, as they trace the terrestrial and celestial trajectories in graphic notations. They mapped the earth from space and follow the movements of the cosmos like artistic astronomers. With his universal symbols, signs and aviation notations, Hariraam transcends the self from local to global aesthetic and graphic sensibilities.
The JJ School tradition mastered the art of gestural abstraction; layering pigments and overlapping with his gestures. The expressionistic strokes inscribe calligraphic, hieroglyphic notations on the surface. This is superimposed by a dominant color that reveals fragments of light and color. This structure the canvas with linear notations that pin and punctuate poetry from the palette.
Abstract painters and their practice are like parallel rivers flowing with excess of figuration. The many fellow travelers support the journey of another way of looking. The collective learns from each other and evolves distinctive styles that give a vocabulary and identity defining their journey.
It is the spiritual yatra from the terrestrial, an inward journey of meditative mantra of self-absorption. This is a private getaway from the humdrum of the urban chaos into silence and solitude, into monologues with colors, gestures and canvas. Within this paradigm, it has the danger of being self-absorbed aesthetic; exercise without an edge. The accomplished practitioners transcend and renew themselves within their limitations; mutating and surviving in the divergent space, negotiating the metaphysical and aesthetic innovations.
Hariraam's art has matured into his own; his persistence and quiet temperament has created sublime creations of gestural and layered abstractions using the printmaking roller, his technique displays a sense of control and meditation.
Suresh Jayaram
( A visual artist, curator and art historian)
1980 DFA [painting], Kalamandir School of Art, Bangalore
1988-90 Specialised in printmaking at Regional Centre, Lalit Kala
Akademi, Print workshop, Chennai
2008 Specialised in printmaking [non-toxic] at,
New Grounds Print Workshop, Albuquerque, New Mexico,
USA
EXHIBITIONS
________________________________________________________
1976 State Annuals, The Directorate of Archaeology and
Museums in Karnataka, Bangalore
1979-83 State Annuals, Karnataka Lalit Kala Akademi, Bangalore
1980 Samyojitha - Graphic Art Show, Venkatappa Art
Gallery, Bangalore
1982 13th South Eastern & International Federation of Art
Societies, Guildhall Art Gallery, London
1983/92 National Exhibition of Art, Lalit kala Akademi, New Delhi
94/97/98
1990 Onze Mini-print Internacionale, Cadaques, Spain
1982 Centenary Show, Royal Institute of Oil Painters,
Federation of British Artists, London
1990 16thnternational Independent Exhibition of Prints in
Kanagawa, Japan
1991-93 Southern Trends - Regional Centre, Lalit Kala Akademi,
Chennai
1992 L’AUTRE VOYAGE - Une Rencontre voie de Telecopie
entre Artists’ Indiens et Francais, Alliance Francaise
de Madras & France
1992 Annual Show, Karnataka Chithrakala Parishath,
Bangalore
1992 State Annuals, Rajasthan Lalit Kala Akademi, Jaipur
1993 Shraddha Samarpan - Jehangir Art Gallery, Mumbai,
1993 40th Anniversary of the Alliance de Madras, Chennai
1996 The End of Silence - Mirage Art Gallery, New Delhi
Artist's Village Gallery, Chennai
1993 Artist's Handicrafts Association, Cholamandal
1996 Miniature Format - Gallery Sans Tache for
Contemporary Art, Mumbai
1996 Three Decades - Cholamandal Artist's Village,
Cholamandal Artist's Gallery, Chennai
1996 Contemporary Indian Artists - Chitram Art Gallery,
Cochin
1996 Diverse Perceptions - Surya Art Gallery, Hyderabad
1996 Chennai Four - Gallery Art Today of 'India Today', New
Delhi
1998 Human Form & Art - a cross-section of figurative art
since 50 years of Indian Independence, Curatorial
show, Lalit Kala Akademi, New Delhi
1998 The Southern Stars - Art World Sarala’s Art Centre,
Chennai
1999 Save the Children Foundation, Charity Show, Vacoas,
Republic of Mauritius.
1999 Graphic Expressions - a projection of Indian
Contemporary Printmaking, Cymroza Art Gallery,
Mumbai
2000 Monsoon in the Millennium - Gallery Sans Tache for
contemporary art, Mumbai
2000 Working artists of the Studios, Regional Centre Lalit
Kala Akademi, Chennai
2000 Sketches for the New Millennium - Easel Art Gallery,
Chennai
2000 Art Access - Brila Academy of Art & Culture, Mumbai
2000 Gems 2000 - Multiple Sclerosis Society of India, Park
Sheraton, Chennai
2001 International Biennial, Part of International Festival of
Graphic Arts, National Museum of Arts, Cluj, Napoca
2002 Drawn Memories & Painted Shadows - Vimonisha Art
Gallery, Chennai
2003 The Sacred & The Secular- Gallery Time & Space,
Bangalore
2003 International Small Engraving Salon, Carbunari,
Romania
2005 Palette Passion - Apparao Gallery, New Delhi
2005 Turning the Wheel : Tradition Unbound - Curatorial
Show, India Habitat Centre, New Delhi & Gallery Time
& Space, Bangalore
2005 Contemporary Indian Art - Prakrit Arts, Chennai at
Hong Kong Visual Arts Trust, Hong Kong
2010 New Grounds Print Workshop Artists - Albuquerque,
NM-2008’ at, Art World Sarala’s Art Centre, Chennai
2011 Artists of Dialectical Fusion - present ’7 Contemporary
Indian Artists, at Gallery Art & Soul, Chennai
2011 New Grounds Print Gallery, Albuquerque, New Mexico,
Curatorial show of Affordable Art Fair, New York, USA,
2011 Artists of Dialectical Fusion - present ‘Serigraphs from
India’, New Grounds Print Gallery, Albuquerque,
New Mexico
2016 Hues for Life - Art World Sarala's Art Centre, Chennai
2016 Art:India, Abstract and Conceptual Art, Sublime
Galleria, UB City, Bangalore
2016 Healing Nature : restoring balances, Gallery Time and
Space, Bangalore
2017 Beyond Boundaries - Mahua-The art Gallery, Bangalore
ONE-PERSON SHOWS
------------------------------------------------------------------------------------
1975 Nature : a new form of expression- Alliance Francaise
de Bangalore
1976 Based on : The Little Prince by Antoine de Saint
Exupery, Alliance Francaise de Bangalore
1978 Inspiration from the book : Transformation of Nature in
Art by, Anand Coomarasamy, AIFACS Gallery, New Delhi
1979 Transmigration - Goethe Institut, Max Muller Bhavan,
Bangalore
1981 Metempsychosis, Venkatappa Art Gallery, Bangalore
1982 Brad Shaw Room : The Mall Galleries Administration,
London
1994 Gallery Katayun, Kolkatta
1995 ANZ Grindlays Bank Gallery, Breach Candy, Mumbai
1996 Abstruse Nature - Easel Art Gallery, Chennai
1998 Human Form in Astral Space : The Easel Art Gallery,
Chennai
1999 Spaces - Upper Gallery, National Museum, Monuments
and Art Galleries, Gaborone, Botswana
2006 Untitled : Pundole Art Gallery, Mumbai
2009 Enigmatic Equations : Gallery Time and Space,
Bangalore
2016 Stellar Memories, Gallery Time and Space, Bangalore
2016 Stellar Memories - Kalakendra Centre for Arts,
Auroviville, Tamilnadu
2016 Stellar Memories - TASMAI Gallery sponsored at Mason
Perumal , Pondicherry
2016 Stellar Memories - Varija Gallery at Dakshinachitra,
Chennai
2017 Abstract Dialogues : Art World Sarala's Art Centre,
Chennai
2017 Parliament House, Brisbane, Australia
ARTISTS CAMPS
------------------------------------------------------------------------------------
1977 South Indian Artist’s Camp, Karnataka Chithrakala
Parishad, Bangalore
1980 Kalamela : Venkatappa Art Gallery, Bangalore
1992 Second International Tapestry weaving Camp : Goethe
Institut : Max Muller Bhavan, Chennai, in collaboration
with TASARA Centre for Weaving, Beypore, Calicut
1992 Utarayana-92, Drishyam Chithra kala Samithy, Artists
Camp, Perincode, Kerala
1996 Graphic Printmaking Camp, Lalit Kala Akademi, Regional
Centre Print Studios, Chennai
2002 Drawn Memories and Painted Shadows - Painters Camp,
at Gothe Institut, Maxmueller Bhavan, Chennai
2010 Regional Academy Painters Camp, Lalit kala Akademi ,
Regional Centre, Chennai, in collaboration with Pace
Foundation and Global Education Multiversity, Pune
2011 National Academy of Art Painters Camp, Lalit Kala
Akademi, New Delhi at Kochi
COLLECTIONS
-------------------------------------------------------------------------------------
National Gallery of Modern Art [NGMA], New Delhi
National Museum & Monuments, Gaborone, Botswana, Central Africa
The Directorate of Archaeology & Museums in Karnataka
Government Museum & Venkatappa Art Gallery, Bangalore
Taipei Fine Arts Museum, Taiwan
National Museum of Arts, Cluj, Napoca
Museum of Arad, Romania
Stad Museum of Graphic Art, Brunico, Italy
Kanagawa Prefectural Gallery, Japan
Valluvar Kottam, Government of Tamilnadu
National Academy of Art, Lalit Kala Akademi, New Delhi
Regional Centre, Lalit Kala Akademi, Chennai
Karnataka Lalit Kala Akademi, Bangalore
Babcock Graduate School of Management, Wake Forest University, North Carolina
Tapong Visual Arts Trust, Gaborone, Botswana
Cluj County ‘Octavian Goga’ Library, Cluj, Napoca
Windsor & Newton, Harrow on the Hill, London
Taj Mahal, Taj, Mumbai
State Bank of India, Mumbai
Ranbaxy Laboratories
Sterling Holiday Resorts, India
Hindustan Aeronautics, Bangalore
Bharath Electronics, Bangalore
Nettur Technical Training Foundation, Bangalore
Kidwai Memorial Institute of Oncology, Bangalore
Deepam Silks International, Bangalore
State Bank of Mysore, Bangalore
Reserve Bank of India, Bangalore
Falcon Tyres, Bangalore
IBM, Bangalore,
Biocon, Bangalore
Ca Technology Centre, Hyderabad
South India Carbonic Gas Industries, Chennai
W.S Industries, Porur, Chennai
Sudson Housing Development, Chennai
Body Focus, Non surgical aesthetic clinic, Chennai
Coromandal Software, Chennai
Vetri Software, Chennai
Ashley House, Ashok Leyland, Chennai
Quality inn Aruna, Chennai
Taj Residency, Calicut,
Taj Malabar, Wellingdon Island, Cochin
Taj Garden Retreat, Varkala
Taj Garden Retreat, Madurai
Taj Garden Retreat, Kumarakom
Taj Garden Retreat, Thekkady
Taj Residency, Vishakapatinam
Pace Foundation & Global Education Multiversity, Pune
------------------------------------------------------------------------------------
AWARDS
------------------------------------------------------------------------------------
1966 Lalitha Kala Mahothsava, Mysuru
1975 Dussera Industrial and Cultural Exhibition, Mysuru,
Karnataka State
1977 State Award - The Directorate of Archaeology &
Museums in Karnataka, Bangalore
1989 Top award -Tamilnadu Arts and Crafts improvement
Association, Padapai, Chennai
1991 Merit : 5th International Biennial Print Exhibit [ROC],
Taipei Fine Arts Museum,Taiwan
1995 State Award - ‘Tamilnadu Ovia Nunkalai Khuzu’, Lalit
Kala Akademi, Chennai
2003 International Triennial [Ioan Slavici], Arad, Romania
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