At any rate Shovin’s compositions are bounded at one extreme by the regular polyhedrons, the strenuous stereo metric forms, by spheres, by an infinite number of planes, by thermomorphic patterns, or also birds, canines, felines, fish, spectral human shapes etc. These patterns can transform themselves into squares, or they dissolve into waves, losing their identities. There are successive transformations. It is, as it were, every detail can metamorphose into oddity.
So such are the artist’s animate as also inanimate personae. He gives us hints of the situation, deadpan. A wonky world, but it holds valuable lessons as much as it is a visual delight “Do not be lazy, get to know that all things can change their forms”. So he seems to imply.
This kind of mockery is meant to evoke certain humility in our response to life. He is toying with the old problem of true and false. The work therefore instantly demolishes our certainties, or things that we know only from the outside.
To repeat, this art tries to wake us up to the basic strangeness impending behind taken for granted monolith structures, whether grand buildings or gross dogmas. The only sound axiom being that there are other truths behind the one truth. So if on one level, this work offers pleasure and amusement, on another it poses serious questions. Included in this exhibition are also the artist’s digital prints and other works based on India’s ancient caves. These are sober, exacting recreations of an ancient world. But he has created a beautiful set of works in pure white, using a classical structure. Here we observe the artist become an architect or a landscape choreographer. His work uses this as inspiration to transcend the boundaries of classical art.