Your Form is My Creation 2015 by Bhaskar Hande

Your Form is my Creation

Bhaskar Hande Paintings | Lithographs | Sculptures

Past Exhibitions KAMDHENU a wish fulfilling cow – sculptures and digital prints

TIME WILL TELL – Emerging Forms and Expressions of Young Contemporaries

OWN AN ORIGINAL – drawings and paintings in a postcard format

A Tribute to MASTERPIECES – history revisited DEMOCRACY – possibilities and impossibilities curated by Amit Mukhopadhyay

THE ALCHEMIST – a monographic exhibition CREATING IMPRESSIONS – a group exhibition of graphics

UNSEEN PASSAGES – from the studios of emerging talent

SUBJECTIVE IDIOMS – a display of surreal and still life paintings

Current Exhibition YOUR FORM IS MY CREATION – Lithographs|Sc ulptures|Paintings by Bhaskar Hande Forthcoming Exhibitions LAMENT- pop-up MAHABHARATA – works of Sankha Banerjee curated by Amit Mukhopadhyay - Kathryn Myers and Gopika Nath

Cover Deity | 1992 | Metal | H128xW20xL86cm Square Roots| 2009 | Acrylic on Canvas | 120x90 cm

Your Form is My Creation

Monographic Exhibition | Paintings | Lithographs | Sculptures by

Bhaskar Hande

‘The language of art is formal... it is also opaque... it is a

language of qualitative cognition rather than of intellectual comprehension...’ – J. Swaminathan

To me Bhaskar Hande’s visual vocabulary reaffirms this thought.

When I first saw Bhaskar Hande’s work, I was struck by the sheer lumi-

nosity and tonal quality of his palette, by the symbolic imagery of his black-andwhite lithographs and the simplicity of his sculptural forms.

Bhaskar Hande makes graphics, paintings, sculptures and works in other

media as well. He is a Dutch national of Indian origin and comes across as a highly intuitive and philosophical personality. After a stint at J. J. School of Art in Mumbai, he left for the Netherlands to pursue Liberal Arts at a university there. His training in diverse streams of Art and an inherent leaning towards poetry made him the artist that he is. He is particularly drawn to the abhangs (a form of devotional poetry sung in praise of god Vitthal) of 17th- century mystic Sant Tukaram which also find expression in his visual language. His art seems to amalgamate the mathematical and the metaphysical.

In Bhaskar Hande’s repertoire spanning 32 years I can see evolution from

a painted surface involved in an intense exploration of material to a surface saturated with pure pigments; a transition from an aggression of line and colour to pulsating stillness . The space continues to be imbued with strong emotional content and lends the resultant visual a hypnotic effect making for a transcendental experience. On display in this exhibition will be his lithographs, paintings and sculptures.

Whereas the lithographs and sculptures are a visual tribute to Sant Tu-

karam and the Bhakti movement, the paintings draw inspiration from the Sufi and Varkari tradition of Bulleh Shah and Namdev.

Bhaskar Hande’s earlier work has its roots in the ideologies of spiritual

thinkers and poets. His later paintings, like the current exhibits, represent contemporary influences. The transforming environment, be it social, cultural or geographical, takes on the shape of geometric forms and merging colours on his canvases.

Art and Aesthetic is privileged to showcase the work of Bhaskar Hande.

- Anchal Shinde

Director

Tukaram - 2222 I 1992 | Edition 19 | Litho l 24x31 cm | Paper size:38x56cm

DREAM INSIDE A DREAM

from magical, glass-lined houses). Right opposite Artimediair stood the house of the great philoso-

‘An earthen pot full of nectar’ and ‘a

pher Spinoza. As part of its policy, the Dutch gov-

gold vessel full of wine’. Think a while and decide

ernment was promoting the setting up of cultural

what will you opt for.

centres around the lanes occupied by women of

pleasure.

A Marathi abhang of Sant Tukaram It would be futile to look for Western ori-

Coming back to his village from this other

gins in the abstract colours and shapes of Bhaskar

world and joining a 20-day journey on foot to dis-

Hande (born in Umbraj, Maharashtra, in 1957) –

cover the artist within him was a major challenge

painter, sculptor, poet, filmmaker, photographer

for Hande. The great journey called Palkhisohala,

and philosopher who’s been living in The Hague,

from Sant Tukaram’s village of Dehu to Pandhar-

Holland, for a number of years. The abhangs of

pur, was the biggest challenge in the development

Marathi mystic saint Tukaram, born more than 400

of his art. Many other artists were also part of

years ago, are integral to his abstracts. What is

this journey. And not only city artists but young

art after all? True art involves giving up the gold

artists from village schools as well. The artist’s

vessel brimful of wine and savouring the drops of

agenda included unearthing the hidden secrets of

nectar from an earthen vessel. Tukaram exhorts

the Marathi culture. He also realized the secret

one “to see the inner light” to attain the peace

of keeping the mind and body fit: “Walking keeps

of mind and we can see that magical glow in

the mind fresh and the body fit.” For Bhaskar this

Bhaskar’s abstracts. Tukaram says that when the

journey had become even bigger – the journey to

mind disintegrates one needs patience to bring it

India from Holland to Turkey via Georgia, Iran and

back to health and achieve well-being. This pa-

Pakistan. In 2008 he joined some Dutch artists on

tience is the hallmark of Bhaskar Hande’s shapes

a truck as part of the project ‘Show Your Hope’

and strokes.

which had artists from 86 countries out to transform ‘Hope’ into a big dream.

Hande spent 17 years of his life in his vil-

lage, then spent nine years in Bombay as a cinema

Tukaram has written: “I was sleeping

billboard painter, student of Applied Art at J. J.

when Namdeo and Vitthal stepped into my dream.

School and as a designer with an advertising firm.

‘Your job is to make poems. Stop wasting time,’

In 1982 he moved to the Netherlands – the land of

Namdeo said. Vitthal gave me the measure and

masters like Rembrandt, Vermeer, Van Gogh and

gently aroused me from a dream inside a dream.”

Mondrian. For the next two years he studied at the Royal Academy of Visual Arts there. Thus, he is one

All of Bhaskar’s paintings, drawings,

Indian artist who has lived in Holland for 32 years.

sculptures, prints, videos, photography and poetry

But his link with his village, his state, his city

are marked by a sort of ‘dream inside a dream’.

never snapped. Rather, over the last few years this

There is the inner light of meditation, the strict

relationship has become deeper, and more lively

discipline of art, and an attempt to understand

and meaningful.

the real dharma of art while proceeding on a grand journey on foot. His philosophy has been:

Recently, Holland was listed among the 10

Art is a place for unlimited experimentation.

countries with the best quality of life. In October 2008 I had an opportunity to stay at Hande’s

Many Indian artists have remained in

art centre in The Hague called Artimediair for a

focus whether they settled down in the West or

fortnight and spent considerable quality time with

returned home. But Bhaskar Hande is courteous,

his paintings. The centre has been shut down since

modest and a poet at heart and I am sure this

2012. But during my stay there I was often amazed

show will emphatically underline the significance

by the atmosphere in the prostitutes’ lane right

of his art.

below the centre (a lane where one could observe them beckoning one with their lascivious poses

- VINOD BHARDWAJ, Curator -Your Form Is My Creation

Square Roots | 2001 | Oil on canvas | 65x85 cm

Square Roots | 2003 | Oil on canvas | 65x85 cm

Square Roots | 2005 | Oil on canvas | 65x85 cm

Square Roots | 2001 | Oil on canvas | 65x85 cm

Integrative Segragation | 1999 | Oil on canvas |110x75 cm

Square Roots | 1998 | Oil on canvas | 100x80 cm

Square Roots | 1999 | Oil on canvas | 110x80 cm

Square Roots | 2002 | Oil on Linnen | 100x100 cm

Square Roots | 2002 | Oil on canvas | 100x100 cm

Square Roots| 2001, Tech | Oil on canvas | 50x70 cm

Feeling lends weight to colours. This is a strong

His first show was held at Hogen Limburg in

Bhaskar Hande also seems to be equipped with

patient. In his paintings there is an intense exploration

is an Asian at work, from whom one can learn to be

the possibilities for an unlimited experimentation. Here

colours, lines and structures as if they were live.

artistic events. The viewer has the sensation of forms,

imagery uninfluenced by the considerations of non-

reflect any experienced external world, but the pictorial

for the German Gluck Art scene. Hande’s works do not

beyond the conventional framework. Hande is a fit case

Indian Bhaskar Hande was an art experience that went

fruitful tension with the delicate transparency of the

Impact and immediacy of the Europaen Kamphues in

Accent’ Hande was represented with a few works. The

Kamphues had a solo exhibition. Then with ‘Two Wold

were also shown, and represented life and death. First,

of an India- related exhibition where some of his works

Accent’, and was organised by Kamphues. It was part

of paintings and graphics under the theme ‘Two World

the Evangelical Academy Iserlohn in June, consisting

scene.

Kamphues he has also managed to enter the German art

his friendship with Hohenlimburger painter Heinz-Otto

name in both India and the Netherlands. And thanks to

lives between Bombay and The Hague and has made a

group of works by Indian painter Bhaskar Hande. He

Square Roots| 2001, Tech | Oil on canvas | 50x70 cm

“Colours give weight to feelings,” writes

Ursula Heyn Benzin, Iserlohn, Germany. German language article published in ‘Westfalia’ news paper, West Germeny ,1992

focusing on the craftsmanship of movie posters.

ferred medium. He studied cinema in India as a painter

control the artistic processes. Acrylic paints are his pre-

Hande prefers the small format where he can

to come up with unusual images.

oil paints, he works in variegated techniques and loves

ements leads Hande to amazing results. With acrylic and

The quiet yet resolute handling of the colour el-

tative approach while painting.

tones. Colours are also complex since Hande has a medi-

strict palette begins to be complemented by vibrant

works. The colours seem subdued and restrained. The

singing. There is nothing shrill, garish or loud in Hande’s

which one can imagine the great poets of rock music

Bhaskar in one of his poetic statements. There are texts

stretchable primary matter.

and loosen. In Hande’s images the colour becomes the

traces of which, without space coordinates, compress

It often seems to be pitch-perfect choreography, the

dance and soundboard, space, battlefield or tender skin.

ceptibly. The surface is treated as a crime scene, target,

paintings, is indicated or sometimes reappears imper-

ment. Figuration, which often disappears from Hande’s

of the material instead of technical and artistic refine-

Square Roots | 2008 | Acrylic on canvas | 50x70 cm

Square Roots | 2009 | Acrylic on Paper | 56x76 cm

Square Roots | 1997 | Oil on canvas | 65x85 cm

Square Roots | 2010 | Acrylic on Paper | 38x72 cm

Square Roots | 2004 | Oil on canvas | 90x130 cm

Square Roots | 2003 | Oil on canvas | 90x130 cm

Mystic Moods |1998 | Oil on canvas | 72x85 cm

Mystic Moods| 2001| Oil on canvas | 65x85 cm

Square Roots| 2009 | Acrylic on Canvas | 120x90 cm

Square Roots | 2008 | Oil on canvas | 100x100 cm

Square Roots | 2001 | Oil on canvas | 90x120 cm

together. Most of the paintings have titles that are very personal to the artist and only hint at the message. The rest is for you to interpretate after

ones belief differs from person to person and the

importance of any one of the above considerations

may also differ, and so it should.

natural evocation into his paintings.

generally satisfied all of the aforementioned areas.

favourite Bhaskar Hande painting and feel satisfaction and peace.

regimentation, instead, with intuitive sensitivity,

Bhaskar seems to find an equilibrium in his paint-

within each painting that gives that extra magic.

etc., he introduces a subtle nuance of colour

and the juxtaposition of one colour with another

has an obvious respect for the physics of colour

such have been set very high. Although Bhaskar

from the great mans paintings, my standards for

wonderful waves of subtle colour that emanate

Room’ at the Tate Gallery I have absorbed the

Having sat for prolonged periods in the ‘Rothko

ing give a satisfaction that I rarely experience.

Again, the colours used in Bhaskar’s paint-

Blackheath Gallery, London 2001.

James V Corless BA

I can, if the moment allows, sit in front of my

the stricture; of the ‘golden section’ with clinical

ings that would satisfy most.

I look forward to his next exhibition when

swered differently in each painting. There is not

Firstly the question of structure is an-

the metaphysical world and one can easily see the

relatively unknown in Europe, whose paintings

very important to him and conveys his attitude to

have an artist that paints with words. His poetry is

Hande, I was impressed. I had found an artist,

When I first saw the paintings of Bhaskar

the cohesive component that brings everything

one of those factors within the painting. Of course

ter’ consideration lastly, I only do so because it is

is quite common to be disappointed with at least

affording a little time to observe. Here also we

Although I mention the ‘subject mat-

When one considers either, the structure

of a painting, the colour or the subject matter, it

Square Roots | 2002 | Oil on Linnen | 85x112 cm

Tukaram - 977 | 1992 | Edition 20 | Litho l 24x31 cm | Paper 38x56cm

Cosmos Energy | 1992 | Edition 18 | Litho | Paper 38x56cm

Tukaram- 2256 | 1992 | Edition 23 | Litho | 30x41 cm, Paper 38x56cm

Tukaram-2442 | 1992 Edition 24 | Litho | 23x30 cm | Paper 38x56cm

Knowledge of the third kind

Intuitive Knowledge:

Long ago I once focused on discovering how I had reached the

chamber of three dimensions, a chamber with a lot of objects covering the wall, floating off the ground and hanging from the ceiling. Some of those objects shined while others were rather dusty.

What glimmered looked like a bunch of butterflies resting on an object,

soaking its warmth. I was reluctant to touch those surfaces.

But the dust might have captured my sense of touch. I was warned by my

other senses not to have contact with those atoms. It was confusing all the way. Why were my senses reacting so weirdly or shall I say oddly?

I do not know. But I keep touching those objects from time to time. Those

atoms fused and got blurred. The chamber had been built to contain many of the objects created in three dimensions. I got lost in it and forgot to come out.

Since then my senses have developed an intuition of the third dimension

– knowledge of the third kind. It is quite helpful in guiding me on the path in the chamber.

Where is all this settling down within me? In my soul or between my

senses. I ask myself ‘where’ while walking. It’s a stretch that vanishes into an optical root; but when someone walks on it, it never meets the end. Just like the trail of life, where we can touch a person’s heart but never get coalesced. Or, let us say, get entwined within our senses and get lost again afterwards.

I speak of the knowledge of the third kind as a consequence of my spiritual

strength. My soul still nestles in the self-built castle of the fine arts; amusing itself by owning not a chamber but a whole castle!

Being a student of liberal arts, I find the fine arts section as the cluster of

so-called chambers and sub-chambers; some hidden underneath like Dutch canal houses with their striking gables and dual entrances.

Sometimes, while moving in space, time and history, grammar tells me the

story of languages while science simultaneously puts innovations in perspective.

In this world of multifarious dimensions, my intellect absorbs certain

points as if picking a lock, and comes face to face with the soul inside that castle. Sometimes that’s quite a surprise…

Somewhere in and around are those secret meeting points where men, so

far, have failed to find answers to ‘where’ and ‘why’.

With the aid of material like rubber, wood, diamonds or even dust, I

have been seeing this as part of a unique form.

By mode, like a method or tonality in music, I am embedded in invisible

energy.

By attribute, I am a non-existent creation, complementary to God,

though I am likewise the soul of sense and the consciousness of mind.

Since my birth I have never felt obliged to thank the so-called God for

showing me His universe. Under the spell of my ego I have spent my life creating my own universe in the third dimension.

Senses, driven by feelings of a lifetime of intuition, pump air into the

bubble of my ego, which rests within the body of every man. Breath keeps me awake and thereby my pliant flesh gets strength to create a stasis position of form.

The universe is filled with concepts and ideas of various kinds, and the

artist-sculptor tries to understand himself by reflecting over his ideas. His material and the understanding of physical and psychic worlds make the artist stronger.

An understanding of literature and history provides references. The

perspective of time sends him a signal. An artist can go on trying to understand the universe, planets, the atmosphere, the environment, his surroundings and his traditions and culture. Sometimes he ignores the environment and goes out to find something else. He tries to make another platform, come up with another innovative concept with his ideas, or go into abstract to think it over one more time.

The most enlightening chamber of the castle is the one devoted to the

samadhi of a yogi. Samadhi does not mean the state just after death like mummies in an Egyptian pyramid. The Sanjeevan Samadhi is Undifferentiated Cognition - the state of the continuing journey of the soul. This state encompasses a range of the highest spiritual achievements up to the merger with the Primordial Consciousness and the Absolute. It is the ultimate art of yoga â&#x20AC;&#x201C; its expression and meaning.

My soul tries to understand the conscience.The castle is constructed

with the subjects of Fine and Liberal Arts. Talent, skills and art are the residents within. The mind and senses are the guardians of the curatorial mind for holding exhibitions in the chambers. Bhaskar Hande, The Hague, NL.

Philosophy | 2013 | Metal | H23xW44xL78 cm

Deity | 1992 | Metal | H128xW20xL86cm

Devotee | 1992 | Metal | H73xW20xL61cm

Deity Male-female | 1992 | Metal | H115xW22xL130 cm

Duality | 2012 | Metal H73xW91xL91cm

Yogi|2012 | Metal | H61xW60xL60cm

Philosopher | 2013 | Metal | H76xW90xL30cm

Participation in Interntional Biennale and triennale. 1990 SAGA90 FIAC edition Paris, Grand palace Paris, FRANCE. 1993 Binnalle Z.H.Grafiek Manifestatie The Hague,NL Groote Kerk The Hague. 1995 Binnalle Z.H.Grafiek Manifestatie The Hague,NL Groote Kerk The Hague 1997 Binnalle Z.H.Grafiek Manifestatie The

Exhibitions : 72 One man shows in European countries and India 135 Group Exhibitions around the Globe

Biography 1957 Born in Umbraj, Dist. Pune, state Maharashtra,India; 1974 Came to Mumbai, worked as banner painter in the film industry; 1976-81 Studied at Sir J.J.institute of Applied Art Mumbai, India; obtained G.D.ARTS diploma.in applied art; 1979 Fourth prize Maharashtra state Award; 1981 Second prize Maharashtra state Award; 1982 Went to the Netherlands for post graduation; 1982-84 Studied at the Royal Academy of Visual Arts the Hague, NL. Obtained diploma in Monumental Painting and Design; 1985-87 Studied animation and video at the Free Academy of Visual Arts the Hague, NL; 1987 Since than working as an independent fine artist in The Nederlands and India.

Books 1989 1 Encounter/Ontmoeting Forum/ GTP Amsterdam, NL ; English/Nederlands Catalogue and poetry, Poet Adriaan Morriën

Facimille 1 Keleido 1990 presented by Forum Gallery in Grand Palais, Paris; 2 Folio 1992, Artimediar Gallery, The Hague; 3 Dashak 1990 (Decade) Marathi 10 illustrated poems Mumbai; 4 10 years in Holland 1983-93, 4 Lithographs, Text in graphicmap Inkt , The Hague, NL; 5 Wat Bescheidener en stiller is ook goed 1998, 2 silkscreen and short story Mindert Warre (Ritske de koningh) Utrecht, NL.

Hague,NL Groote Kerk The Hague 1999 Binnalle Z.H.Grafiek Manifestatie The Hague,NL Groote Kerk The Hague 2010 8ème MONDIAL de l’ESTAMPE et de la Gravure originale. Triennale de Chamalières France 2011 MEDJUNARODNO TRIJENALE GRAFIKE First International Print Triennale ULUS Belgrado, Serbia; 2013 MOHOR, First Pune Binniale Pune, India. 2014 9ème MONDIAL de l’ESTAMPE et de la Gravure originale Triennale de Chamalières France 2014 MEDJUNARODNO TRIJENALE GRAFIKE Second International Print Triennale ULUS Belgrado, Serbia. 2015 MOHOR, Second Pune Binniale Pune, India.

1990 2 DASHAK Bapu Nasik, IND Marathi poetry 1995 3 Your Form is My Creation, Vaishwik Pune,IND Marathi/English Artbook/catalogue Text Dilip Chitre / Dr.Sadanand More; 1995 4 Budala Gaon Gaon Budala Bapu Nashik,IND Marathi poetry; 1996 5 Merging Colours Warre fine arts English catalogue Artimediar The Hague, NL; 1996 6 Your Form is My Creation Century Union, The Hague NL Hindi/English artbook/catalogue; 1997 7 Holland-India Give and take in art 1, Marathi/Nederlands artbook/catalog; 8 Prints by Bhaskar Hande Century union The Hague, NL English/Nederlands part one; 1999 9 BHASKAR1999 Gallery Blackheath London,UK English artbook/catalogue; 2001 10 Holland-Europe Give and take in art 2 Vaishwik Pune, IND. Marathi / Nederlands artbook/catalogue; 11 Tirast Manera Vaishwik Pune, IND Marathi poetry; 12 Encounter with International artist Stg. IHK The Hague, NL; 2006 13 Colour Saga Exhibition catalogue Fabs Warsaw, Poland; 2008 14 Show Your Hope Vaishwik/Artimediair The Hague Holland 15 Drawings of Palakhisohala Vaishwik Pune, India. 2009 16 325 years Dehu- Alandi to Pandharpure Palkhisohala Vaishwik Pune, India; 17 A Black Substance Artimediair

Paintings, Graphic and sculptures in Corporate collection 01 Motorola Bombay, Mumbai, IND; 02 Motorola Banglore, Banglore, IND; 03 Tangerine Computar, Mumbai, IND; 04 Infotec India Haidrabad, IND ; 05 Cotten Corporation of India, Mumbai, IND; 06 Housing Devlopment and finance Corporation, Mumbai, IND; 07 Uday Joshi and associate Architects, Mumbai, IND; 08 Klaus Berning Architect, Iserlohn, GER; 09 Stichting Fonds voor Bouwnijverheid, Amsterdam, NL; 10 Stichting Surinamse Regionaal Steunpunt, The Hague, NL; 11 Artotheek Den Haag, The Hague, NL; 12 Gemeente Den Haag, The Hague, NL; 13 Artotheek Schiedam, Schiedam, NL; 14 Gemeente Groningen, Groningen, NL; 15 Foundation Buitenband, The Hague, NL; 16 Warre Fine Art, Utrecht, NL; 17 Stichting Lalaroekh, Utrecht, NL; 18 Stichting Federatie Eekta, The Hague, NL; 19 Stichting voor Surinamers, The Hague, NL;

The Hague, Holland; 2011 18 Kale Tatva (Marathi) publisher Akshar Manav Pune, India; 2013 19 Liberal Pursuits in Arts and Philosophy English and Dutch (synopsis) Public Art Foundation Amsterdam, and Vaishwik Pune, India; 2014 20 Intuitive Knowleledge Book Public Art Foundation Amsterdam, NL; 2015 21 Your Form is My Creation, English, Catalog, publisher Art and Aesthetic, New Delhi, India.

20 Stichting Kunstwerk, Utrecht, NL; 21 Kunstuitleen Vianen, Vianen, NL; 22 Galerie Hoogenbosch, Gorredijk, NL; 23 Galerie Het Dijkstoelhuis, Wageningen, NL ; 24 Inventer, B.V. Amsterdam, NL; 25 Stichting 1940-45, Amsterdam, NL; 26 Hotel Motel Surya, Nashik, IND; 27 Sampression Communication, The Hague, NL; 28 Datamatic Limited, Mumbai, IND; 29 Artotheek Breda, Breda, NL; 30 FAXX Kunstuitleen, Tilburg, NL; 31 Artbank, The Hague, NL; 32 Kunstuitleen Regio Helmond, Helmond, NL; 33 Artotheek 18, Bergen op Zoom & Roosendaal, NL; 34 Kunstuitleen Bonnefanten Museum, Maastricht, NL; 35 Stichting Organisatie Hindoe Media, Hilversum, NL; 36 Industrial Training Institute, Aundh Pune, IND; 37 Kanbay Software India Pvt. Ltd. Pune, India; 38 Clover Housing Dev. Pvt. Ltd. Pune, India; 39 Metaphore Architects, Pune, India; 40 Blackheath Gallery 1997, till 2007 London, UK; 41 Y. C. Maharashtra Open University, Nasik, IND; 42 Arquiteto Burea Rio de Janeiro, Brazil; 43 Gallery Hogenbosch Gorredijke NL.

ÂŠ 2015 Art and Aesthetic www.artandaesthetic.com

Design: Vaishwik Art Environment Pune Photography: Bhaskar Hande | Avinash Thorat

Printer: Lustra New Delhi

Artist : Bhaskar Hande Curator : Vinod Bhardwaj Publisher: Art And Aesthetic F-213/A, 1st Floor, Old M.B. Road, Lado Sarai New Delhi 110030 INDIA Tel: +91(011)41587277 Mobile: +91-9871648222 website:www.artandaesthetic.com Email: Info@Artandaesthetc.com Timings: Open Mon to Sat,1100 â&#x20AC;&#x201C; 1900 Summer Timing: 11.30 am to 6.30 pm (May - June - July)

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Aknowladgement: Vaishwik Art Environment Pune Stroom, The Hague NL.

Note: Original sculptures had made on large scale format such as two meter and fifty cm high, three meter in width and two meter length. Material had been used solid wood, at the Hague, the Netherlands in 1992. At present They have permantly placed in Vaishwik Art Environment Pune, India

As a visual medium of creative expression and communication, a language of qualitative cognition, art takes on an even more significant role in the current sullied times. It is a means to stimulate and rejuvenate ‘life’ through the purity of its innovative expression and splendour of its visual experience. Compelled by these sentiments as well as to explore artistic values, ‘Art and Aesthetic’, an art gallery based in Lado Sarai, New Delhi, started its journey of promotional initiatives in 2012. Providing both domestic and international forum to art and its practices, it strives to reach out to wider audiences and form fresh and meaningful connections across globe. With a clear vision, a focused agenda and an honest commitment to its artists and viewers, ‘Art and Aesthetic’ aims to introduce programmes to facilitate an inspiring and creative environment that provokes public dialogue through contemporary art – making The gallery has had an enriching exposure past two years through participation in art fairs in Berlin, Mumbai and numerous solo and group shows in New Delhi. Going forward it will present interactive programmes that will provide an ideal opportunity for intensive and resourceful sessions on innovative thinking and new perspectives on world art. We are here to celebrate contemporary art and look forward to your participation!

Back Cover | Philosophy | 2013 | Metal | H23xW44xL78 cm