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  • A frequently portrayed theme, this sculpture shows two seated women one in front of the other, in the act of braiding the other's hair. A commonly seen domestic chore seen in Indian middle class homes, where women groom each other in the course of their day. The seated women in front has one leg folded up, showing a certain comfort of her surrounding; possibly in the veranda of her own home.
  • Dakshinamurthy is inspired by observing the people around him, particularly their unique pattern of behaviour, expression of moods, postures and gestures. His visual vocabulary derives mainly from Ayyanar figures and African sculptures, and is expressed in various media including different kinds of stones, ceramics and bronze. A versatile artist, Dakshinamurthy also paints in mixed media, acrylics, crayons, watercolors and ink on paper and canvas.
  • Sculpted in fibre glass on a grand scale, Reddy s monumental female heads and nudes are among the most visible and recognizable examples of contemporary South Asian Art. His works suggest a multifaceted femininity that is at once rooted in the past whilst embracing the contemporary world. Decorated with brightly coloured thick red car paint and gold gilt, Reddy s sculptures appear to be kitsch personified. Their wide open eyes, bold, rhythmic silhouette, elaborate hair styles, lipstick smeared pursed lips, coiled hair with plastic bands and ribbons stage the relations between memory, history, mythology and contemporary reality, the ironies of modern societies. However, their grand, confrontational stance and unblinking stare prevents them from becoming a comic spectacle. They would be neither out of place in a modern bazaar nor in an Indian temple. These female figures are dispassionate and impersonal, however there is a kind of alertness in their expression.
  • Pochkhanawala's body of work, ranging from intricate preparatory drawings and theatrical sets to monumental public sculptures, explores and applies various materials, textures and techniques innovatively to engage with the concepts of time, space and nature, in a "rare marriage between form and content", as Anahite Contractor notes. "Since Pochkhanawala first began to sculpt in 1951 at the relatively late age of twenty-eight, her obsession was to unscramble the tight boundaries of space which were available to her through the time she existed in. Her arrangement of motifs, the strategic use of negative space around them, the aesthetic disproportions and, occasionally, her violent distortions even within the abstract mode she chose to work with, render to Pochkhanawala's sculpture a keen dynamism even today."
  • Roy Choudhury's sculptures consist largely of portraits and individual female figures, the latter of which became the dominant subject for his work. Perhaps his greatest contribution to modern sculptural practice in India can be attributed to his modeling techniques as well as the small scale at which his sculptures were conceived and realized.
  • Dhanapal was an influential painter and sculptor in post- Independence India. His sculptures, in particular, served as a visual bridge between traditional Eastern and the modern, ever changing Western aesthetic sensibilities. Dhanpal used to paint with water colours and tempera in the Bengal School style, but he had also adopted the southern idiom like the Lepakshi murals. He used to draw directly with a thin brush with simple, flowing lines and forms, creating compositions, revealing his powerful draftsmanship. Between 1955 and 1962, he made some remarkable sculptures like ``Mother and Child'', which were full of bhava. Without too many details they brought out the contemporary sensibilities of those days. The compositions were tight and compact.
  • Pandya worked in every conventional sculptural medium like stone, wood, metal etc. with unmatched dexterity and has exploited new material with equal competence. A sizable section of the enormous body of work that he has produced during his long career which spans through almost six decades is yet to be showcased publicly. He experimented with unconventional material. In mid seventies, he returned to wood but unlike his earlier wood sculptures which were carved from solid rosewood logs, he constructed his sculptures using planks, wooden sections, trellis, and lattice resembling the wooden balconies in medieval domestic architecture of Gujarat and installed carved wooden busts with crooked faces in them as if peeping out of the balconies like the mischievous couples seen behind the Kushana yakshis from Mathura. Pandya savors their inherent absurdity more than their meaningfulness. Through a curious fusion of cheeky, insolent skepticism and na
  • Patel has been influenced to a very large extent by the rural setting that he grew up in. Animals are particularly favourite subjects for his sculptures. Although he has since moved to the city, he harbours an ardent desire of moving back to the pristine influence of his native village and working on sculptures using local materials.
  • A moment immortalized, this sculpture captures the act of a predator and its prey. The cat has just caught a bird, and that moment has been translated into a bronze sculpture. The artist has effectively depicted the animal movement, the moment of capture, as perhaps a metaphor of being caught off-guard or being destroyed helpless once caught by the powerful.
  • Sun
    This sculpture finds a similarity to the visual language of modern Indian sculpture prevalent and prominent in this period of the artists time. While form was abstracted, the thematic is retained in the larger series of works. Balbir Katt, father to Latika Katt, also a renowned sculptor today uses the minimalist language in sculpture to convey a more fluid thematic.