FEELBERRY ANTIK FINLAND
PIUME ISSUE 2
SUMMER 2020
SELF-PORTRAIT AS THE ALLEGORY OF PAINTING (1638 - 1639)
“
My illustrious lordship, I'll show you what a woman can do
“
- ARTEMISIA GENTILESCHI
Dear Reader, Welcome to our first edition for the year! Last year we experienced a lot of growth in the Art World, and we are incredibly proud of the effort our ever expanding team, and our wonderful featured artists have put into their work for each edition, as well as for the Feelberry Antik. The growth in our readership has been exponential, and we would like to thank our readers, all lovers of art, all around the world, for their valued support. We promise this year will be even more exciting, exhilarating one! So we invite you to stay for the ride and enjoy the journey with us, as we continue to break barriers in the Art world. Although in this issue we’re only bringing it to you on the digital page, we imagine you will still indulge your senses, and delve deeply into the experience and quality of each piece chosen. We hope to bring it to life for you all, ensuring our readers enjoy viewing it as much as we have had the privilege to. A warm welcome to this edition of PIUME. Fond Regards Rukhma Managing Editor
EDITORIAL
Look Ahead
1. EDITORIAL
03
2. RENDEZVOUS WITH ARTISTS
05
3. FEELBERRY ANTIK
09
4. ARTISTS 4.1 THIS IS SHE
15
4.2 ADAM AND HIS INSPIRATIONS
101
4.3 MERMAIDS AND UNICORNS
221
5. EXHIBITIONS
239
6. COLLECTIBLES CATALOG
259
7. COLLECTIBLES
7.1 RUSSIA
7.2 GERMANY
7.3 BELGIUM
7.4 SWEDEN
7.5 ENGLAND
7.6 NORWAY
261 267 289 297 301 305
8. FEATURES
315
8.1 SWEET BOREDOM
317
8.2 BRICK ME UP
321
9. FEELBERRY
329
RENDEZ
WITH ARTIST
ZVOUS
TS
19 - 32
This is She
ARPITA BHATTACHARYA
33 - 44
AMRIT KHURANA
45 - 54
APARNA BIDASARIA
55 - 66
KOMAL PARMAR
67 - 78
KRUPA SHAH
79 - 90
NIVEDITA PANDE
91-100
REKHA GOYAL
ADAM & his inspirations 103 - 114
AMRISH MALVANKAR
115 - 126
ADITYA DEV
127 - 142
C.D. MISTRY
143 - 152
GOPAL PARDESHI
153 - 172
KASHMIRI KHOSA
173 - 188
NEERAJ MITTRA
189 - 204
NEERAJ GUPTA
205 - 220
RAVI TRIVEDY
Mermaids & Unicorns 223 - 238
AVINEER RAKSHIT
Avineer Rakshit
Gopal Pardeshi
Nivedita Pande
Arpita Bhattacharya
Kashmiri Khosa
Rekha Goyal
Amrit Khurana
Neeraj Mittra
Amrish Malvankar
Aparna Bidasaria
Neeraj Gupta
Aditya Dev
Komal Parmar
Ravi Trivedy
C.D. Mistry
Krupa Shah
PU I
UME Feelberry Antik
THERE IS ALWAYS TIME FOR Whether the hours in your day are feeling interminable or they’re flying by - take a moment to stand and stare There is art everywhere and an artist in everyone.
ART
Feelberry Antik is a venture to facilitate sale and acquisition of objects d’art including art, jewellery, photographs, collectibles and more. We are passionate about effectiveness and integrity that creates exceptional service experiences and trust in all aspects of our business. We have a global reach to showcase
what is beautiful and unique. Expertise is our main asset. Our people have to be experts in their field no matter what role they have. As more clients around the world are captivated by art and seek to acquire it; Our knowledge, judgment and service relevance becomes a key factor.
PIU
UME Artists
This is She
This is She... LET'S CEL
LEBRATE THE MOODS OF WOMEN
Arpita Bhattacharya
A
rpita Bhattacharya was introduced to the world of painting at the tender age of two. Although never formally trained, the inspiration was her mother from whom she learnt the basics of painting. What started off as a mere expression of her thoughts through picture and colours, later became a serious hobby. She gave her complete dedication and passion, so much so that it became an integral part of who she was and who she aspired to be – free, strong, bold and constantly evolving.
She herself admitted, painting to her was a form of meditation which allowed her to be with herself. In a sense, it was fundamental to her and made her a more sincere and honest person because she felt that “no art can be enjoyable if it is devoid of truthfulness”. In fact, her work can be described as an intimate expression of herself.
transcended it with incredible courage. Whether in art or in her life she reaffirmed her conviction, that life was to be celebrated and to be rejoiced in. Acute adversity seemed to have given her a profound serenity and a luminous vision that saw what lay behind the apparent. The element that defined a moment, a situation, a scene, or a message a posture could convey.
Although ravaged by a malignant tumour for twelve long years, Arpita Arpita's work is an affirmation of her looked at pain squarely in the eye. She undying spirit. PIUME | 19
FRENZY BLUE
Watercolour on Canvas (2000)
The unabashed outpouring of passionate energy
THE TRIUMPH OF THE SPIRIT Shakti... the mystical symbol of female power. A uniquely Indian Symbol interwoven with layers of meaning, both mythical and esoteric. In India, the Sun is the symbol of light and power, of Life itself. The Sun symbolizes energy, purity and knowledge. Hindus believe that by chanting the name of the Sun-God, all evil is banished... a faith shared in ancient times by most pagan religious. In this bold composition, Arpita has combined three symbols of power: the Sun, Woman and the Lion. The Woman, exemplifying the power of the Sun, exudes the same power as the lion, which she overpowers. This is one of Arpita’s last paintings. The colours she has used here are different from her usual palette... they are bold and brilliant, the colours of a rebel. The colours of courage. The colours of victory. As the demons of her physical condition shattered her physical strength, Arpita’s spirit grew stronger, ever more determined to resist the mindnumbing pain. Arpita gathered together all the resources of her magnificent, death-defying spirit and overcame her demons. Like Durga, she conquered the shadows of pain and death.
Shakti
Watercolour on Canvas (2001) PIUME | 22
TULSI
PIUME | 23
Watercolour on Canvas (2001)
The many moods of women
JOURNEY
Watercolour on Canvas (2001)
Arpita rarely painted a crowd. In this picture of migration or perhaps of a pilgrimage, the urgency of a large group of people is movingly conveyed
PIUME | 24
FLIGHT
A single swan shows the way to a lone lady
Watercolour on Canvas (2001)
FLIGHT
A moment of serenity and hope
Watercolour on Canvas (2001)
Watercolour on Canvas (1994)
GOSSIP The mood is subtly different in this picture of gossiping women. Perhaps the older woman is relating the heart-rending tale of Draupadi's humiliation, an old story from the great epic, the Mahabharata. The young girls listen with rapt attention. It is through such moments of intimacy that the oral tradition of our culture is transmitted, the traditional values are taught and the bonds between women are strengthened.
PIUME | 27
PRATIKSHA This is the cruelest of all waitingThe wait for rain
Watercolour on Canvas (1992) PIUME | 28
Critic's Review
“
Arpita's work is activated with the colours, as well as the composition, the marriage between the colour and the form makes the work successful. She has succeeded the yellow, the reds, the greens of its kind as well as the black creating a kind of crescendo of force. It is remarkable that within a very short period of time she was able to evolve in a direction. There is repose in some of her works, but at the same time it had flurry of movement. The unity in her work is absolutely admirable. Arpita is a symbol of courage in the face of adversity which our society needs very badly. Late Keshav Malik (1924-2014) Keshav Malik was an esteemed Indian poet, scholar, art and literary critic.
FLIGHT Watercolour on Canvas (2001)
Bride
Watercolour on Canvas (1993)
EXHIBITIONS Arpana Fine Art Gallery NUANCES New Delhi, India - 1999 Exhibition at Gaganendra Pradarshala Kolkata, India - 2002 Indian Habitat Centre New Delhi, India - 2002 Art Show at Conrad Hilton Pune, India - 2019
A M R I T
Art is not a way to make a living. They are a very human way of making life more bearable. Practising an art, no matter how well, is a way to make your soul grow.
A
She paints object as she thinks them, not as she sees them.
A shy and sometimes reclusive figure, Amrit Khurana did not belong to any particular school, but rather adopted stylistic elements from the individual artists she admires. She approaches portraiture with a more humanistic outlook that encourages the spectator to consider something of the personality of her subject. Amrit's imagination often remains ambiguous, while the delicate attention to detail in her painting allows for a much greater intimacy to form between her subjects and
PIUME | 35
the spectators. Amrit's ingenuity is evident both in her choice of subject matter and in her technique. Most of her work presents individual or scenes in non-naturalistic settings, oftentimes without any contextual basis, inviting the viewer into a more philosophical experience rather than a literal reading of the work. The paintings reflects her interest in psychological introspection and her belief in a shifting impermanent visual reality.
Hope
Acrylic on Paper (2017)
MEMORIES
Acrylic on Paper (2016)
Acrylic on Paper (2016)
Acrylic on Paper (2018)
PIUME | 39
LAUGH THERE'S NO TOMORROW
Vespa Romance
Oil on Canvas (2018)
“SHE IS THE
ONLY PAINTER WHOSE WORKS ADORN THE DELHI OFFICE BRANCH.
“
Bill and Melinda Gates foundation New Delhi, India
AMRIT'S VESPA
ROMANCE
EXHIBITION
The Beijing International Art of Autism Exhibit China - 2015
"Kaleidoscope" a solo show at Gallery Romain Rolland Alliance Francaise de New Delhi, India - 2016
"Colour Revelry" a solo show at the India Habitat Centre New Delhi, India - 2016
AUCTION "Inner Dimensions" a solo show at Art Life Gallery
Noida, India - 2017
"Beyond Paradigms" a solo show at Open Palm Gallery, India Habitat Centre New Delhi, India - 2017
"Metro Diaries" solo exhibition at Open Palm Gallery, India Habitat Centre New Delhi, India - 2018
Her Soul Muse APARNA BIDASARIA Unlike many of her peers, who examines urban life, industrialization, and people, Aparna is almost exclusively a painter of the Banyan tree, a subject from which she rarely strays. Aparna paints naturalistic depictions of the deciduous. Influenced by Pointillism, as well as Eastern mysticism, she became increasingly interested in discovering the underlying spiritual qualities of nature through abstraction.
A A
Perhaps this is the reason that Aparna who has always been determined to use paint as a form of individualistic expression, parna's technique is is only now willing to similar to that deploy Pointillism, seeing in it a means to convey her of employing own personal artistic tiny juxtaposed dots of vision. multi-coloured paint that allow the viewer's eye to This is evident in the way blend colours optically, she uses Pointillism to rather than having the provide the composition colours blended on the canvas or pre-blended as a with a dreamlike atmosphere, or what one material pigment. contemporary art critic would describe as the She has freed Pointillism pictures "granular, from a pseudo-scientific atmospheric glow," aspiration to capture produced by creating a objectively the effects of light, instead exploiting the precise layer of dots over the densely painted decorative and poetic background. Meanwhile, potential of the technique the magnificent colour in order to present images transitions further this that produce harmonious sense of otherworldliness, surface patterns. a factor that provokes us into praising her work for its imaginatively applied decorative qualities.
AADIM Acrylic on Canvas (2018)
ANAND Acrylic on Canvas (2019)
PIUME | 50
Chilmana Acrylic on Canvas (2019)
“
THE PRINCIPLES OF TRUE ART IS NOT TO PORTRAY, BUT TO EVOKE.
THE BANYAN SERIES
Taral Acrylic on Canvas (2018)
RISHI Acrylic on Canvas (2018)
2010 - Contemporary Art Exhibition at Karnataka Chitra Kala Parishad, Banglore 2011 - Participated in Annual Bombay Art Society Exhibition, Jehangir Art Gallery, Mumbai 2012 - The Series Of Roopabha, “Earth” Terracotta Group Exhibition, Bharat Bhavan, Bhopal 2013 - Participated in AIFACS, Delhi 2016 - Art Show titled ‘Opera Of Colour’ at Hotel Sheraton in New Delhi
EXHIBITIONS 2017 - Exhibition titled “Time and Being”, Hirji Gallery, Jehangir Art Gallery, Mumbai 2017 - “Time and Being”, Sridharani Art Gallery, Triveni Kala Sangam, New Delhi 2019 - Vriksha curated by Uma Nair, IIC Art Gallery, Delhi and Bharat Bhavan, Bhopal 2019 - World Art Dubai, Dubai 2019 - India Art Festival, Mumbai
COLOURFUL COMMAND Komal's dedication to articulating the inner spirituality of man and nature leads to a fusion of style and content that results in dramatic, imaginative, rhythmic, and emotional canvases that convey far more than the mere appearance of the subject.
Flower Flight
Acrylic on Canvas (2017)
I
f any artist can give us aid and comfort, Komal Parmar can with her great splashes of bright colour on huge canvases. They are big and bold, abstract but not empty or clinical, free but orderly, lively but intensely relaxed and peaceful. She is influenced by Abstract Expressionist painting practices, but has developed her own distinct approach to the style. She is an abstract artist for whom the natural landscape - rather than the existential confrontation with the canvas or search for the sublime - serves as the major focus and inspiration. Her vibrant palette with bright colors dominating her representational canvases and expressive brushwork provides the viewer with a sense of hope. From her figurative and highly symbolic work, Komal progresses further towards pure abstraction. The forms are already schematized from their observable appearance in the surrounding world in the canvas, and her abstraction only progressed as Komal has refined her theories about art. She has produced both abstract and figurative works over time, in compositions of complex patterns and brilliant colors such as her Flower Flight.
BIRD ON BRANCH
Acrylic on Canvas (2006)
DIVINE
Acrylic on Canvas (2017)
Retrospection (2008) Medium: Acrylic on Canvas
PIUME | 63
PIUME | 64
EXHIBI Avant Garde Hues Acrylic on Canvas (2012)
Participated in Tsmai Ismail Marzuki Indonesia - 2008
WE Exhibition at Westin Hotel Pune, Maharashtra - 2013
Exhibition in Taj Vivanta
Pune, Maharashtra - 2015
ITIONS Exhibition at the Bombay Art Society Mumbai, Maharashtra - 2017
Art Show in The Leela Hotel
Sahar, Mumbai, Maharashtra - 2017
Participated in World Art Dubai Dubai - 2019
She is
KRUPA SHAH
With a revolutionary spirit and undeniably iconic paintings, Krupa is a woman on the move; with a message to save the world...
K
nown as a strong-minded character, Mumbai-born Krupa Shah has found fame in advancing colour field techniques by cleverly slipping symbolic still life object like conch into her paintings. Not only did this technique exhibit her considerable artistic skills, it also gives spectators insight into her intellectual, rarified way of living, as seen in The Energy Vibration, for example. In this way, she imagines a kind of direct communion between herself and the viewer, one which might touch the viewer with a higher spirituality. Although known for being one of the prominent colour field painters, Krupa Shah’s hot bursts and crackly lines of vivid hues that conjure tears and gashes are distinct from say Rothko’s more simplified washes of colour or Newman’s thin lines. This can be seen in Connecting Deeply with your Infinity Self, a work that recalls natural shapes and phenomena and other mysterious elements that lie just beneath the surface of our everyday conscious recognition. The relationships within Shah’s compositional ingredients, of foreground and background, bring to mind life’s dance between light and dark - something Krupa loves expressing.
Connecting Deeply with your Infinity Self Acrylic on Canvas (2018)
Oil on Canvas (2017)
THE ENERGY n o i t a r b i V
The
COLORNATU of
our
URE The Color of our Nature is a boisterous expression of passion and colour in varied brushstrokes, which cover the canvas in a sort of chaotic symmetry. The artist is more interested in character than style. Character comes out of her work which are known for this impulse towards freedom along with movement, attention to balance, design and deliberate choices about colour, form and composition.
Oil on Canvas (2017)
2013 - India Art Festival at Nehru Centre, Mumbai 2014 - Exhibited at 11th Conference of the United Nations Day of Vesak, Bai Dinh Temple Convention Centre, Ninh Binh Province, Vietnam 2014 - De Art Event, DIFC, Dubai, UAE 2014 - Titled ‘Drishta’ a group exhibit at Visual Art Gallery, Indian Habitat Centre, New Delhi 2014 - Claude Lorraine, Karnataka Chitrakala Parishath, Bangalore 2014 - Lalit Kala Kendra, New Delhi 2015 - ART 31, Arterie Fine Art Gallery, Chicago
2015 - ‘REFLECTIONS’, a Solo show at Hirji, Jehangir Art Gallery, Mumbai 2015 - Creative Fantasies, Le Méridien Gurgaon, New Delhi 2015 - Colorida Art Gallery, Lisbon, Portugal 2016 - ‘Karmic Connection’ a solo show at Le Méridien, Delhi 2017 - ‘Abhiscka - THE CHANK’ at Fairfield by Marriott, Banglore 2018 - Exhibition in JW Marriott Juhu, Mumbai 2019 - ‘Kara’ a solo show at Taj Gallery, Taj Hotel Mumbai
2014
Krupa Shah
& Women Leaders in India Awards
by GLOBAL BUSINESS INFORMATION LTD
NIVEDITA PANDE THE DISCOVERY OF HER OWN VERSE
It is a confluence of influences - from our modern world and nature to archaic and tribal art, that encourages Nivedita to lend her figures more structure and ultimately set her on the path towards Surrealism, in which she has deconstructed the conventions of perspective that has dominated painting since long. She often arranges additional objects around the central figure that seem discordant with the setting and contribute to the surreal, dreamlike mood of the image. Nivedita’s work displays her vision of natural world composed of cones, spheres, or cylinders as the basis for a distinctive approach that also accommodates the mechanized forms of the modern world. Her idiosyncratic analytic approach has become a vital part of its aesthetic and theoretical explorations.
“
Many of her works ar full of astonishing, automated, compulsive and practically cinematic stutter effects.
All art is conceptual beca art only exists conceptua
Influenced by the chaos of urban spaces and her interest in brilliant, primary colour, Nivedita has sough not only to express the conflict and noise, but also the dynamism of our surroundings. She often creates a sense of movement in her paintings that captures the optimism of our world.
re
ve, c
“
ause ally
, ht d r
s
A R T
is in her heart
Solitude Oil on Canvas (2016)
Who Gets The Chair !!! One of Nivedita’s works, Who gets the chair!!! is an excellent example of how she has relished combining the ordinary with suggestions of the extraordinary in a single canvas, thus leaving all final interpretation open to debate.
PIUME | 83
Oil on Canvas (2013)
’ CRITIC S REVIEW
by Keshav Malik
PIUME | 85
N
ivedita Pande, has had two crafting experiences: one as an architect and second, the inculcation in art methods. Certainly there may well be other spirit-molding influences as well. At any rate, those aforementioned ones are palpable in her works. The artist is modern yet elements of nature or humanity are observed in her largely concept-based images. The machine methodologies do loom in some of the art work, yet her link with the organic world is intact. Speaking to me regarding her exhibition, she said several moving things vis-à-vis the sorry state of the earth. She has a live artistic conscience as well as a social one. This could be invaluable for her future work. In the meanwhile, the painter does not over fill her picture space. This may be due to her learning under those who compose first-rate art with the emptiest spaces in painting. So much is left to the imagination of the spectator or conveyed to him by subtle suggestions. Thus the artist has a good sense, that of the value of a space which is left untouched so that the mind of the spectator can wander in it freely much as in the spacious infinity of the heavens. Not only does the artist work with free space but also allows rhythm to be revealed through her fluid strokes. Her works, done from memory, use a technique whose symbolism and style is firmly established with the disciplined mastery and efficient brush control, and after prolonged meditation upon her themes. At moments, she seems to produce works of delicacy and assurance. Thus, over here, it is no hit or miss method. To repeat, she seems to contemplate both human nature as well as the patterns of the digital age, and at times to make a blend of the two antagonists. In the success of these experiments we do have certain essences of visual truths expressed with clarity and skill. The way the artist works serves two goals: one being the sensuous pleasure, the other is to provoke a thought via the attempted signs. These codes may need decoding by the initiated. Viewers! better turn to her oral reflections on the times we presently live in uneasily, where harmony is in short supply and cynicism in the ascendant.
t
e h EXHIBITIONS
2009 - Exhibited in Painting section of the 80th & 81st Annual All India Painting Exhibition organised by AIFACS New Delhi 2012 - Art Show at Sridharani Gallery, Triveni Kala Sangam New Delhi 2012 - “Beyond Borders” at Open Palm Court, India Habitat Centre New Delhi 2013 - “Centurion 2013”, a show by Voice on Art at Visual Arts Gallery, India Habitat Centre New Delhi 2015 - “Femme Fiesta” a Group Show, showcasing the works of Women artists at Open Palm Court, India Habitat Centre New Delhi 2016 - Annual Art Exhibition of The Art Society of India, Jehangir Art Gallery Mumbai 2016 - “Naayika” a group show showcasing the works of women artists at Airports Authority of India Officers’ Institute New Delhi 2017 - All India Annual art exhibition of Bombay Art Society at Jehangir Art Gallery Mumbai 2018 - 59th National Exhibition of Art Lalit Kala Akademi 2018 - ‘INNER VISION 2018’ an art show organised by Three Aces at Visual Art Gallery, India Habitat Centre New Delhi 2019 - Art for Odisha - exhibition to help Odisha cyclone Fenni victims organised by Metaspace Studio at AIFACS New Delhi 2019 - “Confluence”- exhibition at Lalit Kala Akademi
t
e h AWARDS
ABSTRUSE CONUNDRUM Oil & Thread on canvas (2017)
2009 - Won an award in Painting section of the 80th & 81st Annual All India Painting Exhibition organised by AIFACS, New Delhi 2016 - Citation & Felicitation by Airports Authority of India and Kaladrishti New Delhi
R oL e
MODEL
Rekha Goyal harnesses her lively energy and intuitive style to forge a path of her own in India's ceramic art and pottery community.
S
he has a memorable style and surprisingly makes her own glazes, rare among even the most seasoned potters. Each piece is thoughtful, character-driven, and designed to fit in seamlessly with innovative decor. For Rekha, the quality which appears fundamental in all her creations is life in one or more of its modes; inner harmony, nobility, purity, strength, breadth and generosity, or even exquisiteness and charm. Instead of aiming for perfection, she wants you to see the personality and one-of-a-kind details of each made-to-order piece. Her collection now includes everything from colordrenched handmade basins to stackable serving dishes; Hand crafted tablewares like mugs, plates and bowl forms to murals.
She explores the 'completeness' of an object, and produces sophisticated objects by interpreting classical forms through a modern lens of measured, delicate precision and a bold chromatic approach. Each is a variation on a simple theme with sgraffito markings and surface perforations being relatively used. She has always seen the form as a three dimensional canvas, and to that extent, the form dictates the surface, but it is the translation of the intuitive response she has to her surroundings and her experiences that makes her work so compelling.
FLIGHT OF THE BIRD Glazed Stoneware (2018)
The Moods of Water Coloured Stoneware (2018)
PIUME | 96
TIME Glazed Stoneware (2009)
EVENTUATE Glazed Stoneware (2008)
THE MEMORY OF WATER Coloured Stoneware (2018)
EXHIBITIONS Grand Hyatt and Park Hyatt Hotels Goa, India Mural and Ceramic artwork (INSTALLATION) 2011 India Habitat Centre New Delhi, India TILES FOREVER 2013 Hermes Foundation Paris Kutch Pottery Project 2014 Godrej Design Center Bangalore, India 'LUNAR' EKHO 2016 Piramal Museum Mumbai, India Ceramic Sculpture 'TIME' 2017
PU I
UME Artists
ADAM & his inspirations
T he
M I N I REVOLUTION Spotlight on PIUME's newest addition celebrating Amrish Malvankar
S
urrealism suggested ways to describe the unconscious; and Cubism guides his understanding of picture space. As with many of Amrish's paintings, he begins it with a linear framework of diluted black paint which in many areas soaked through the unprimed canvas. Over this he applies more skeins of paint in various colours - lines thick and thin, light and dark, straight and curved, horizontal and vertical. Amrish often works with a limited palette, yet the colours he uses are bold and expressive. His chromatic explorations, which emphasizes the potential of fields of unblended colour to respond to one another, as well as his flat backgrounds with mild gradations of color, are valuable resources, providing inspiration for Colour Field painters. Via his own Surrealism-inspired exploration, Amrish has invented a
new kind of pictorial space in which carefully rendered objects issuing strictly from the artist's imagination became juxtaposed with basic, recognizable forms. His use of interior emotion to drive abstract expression would become a great influence on the Abstract Expressionists. As the title suggests, the colouring, horizontal orientation, and sense of ground and space in Serenity are strongly evocative of nature. The balance between control and chance that Amrish maintains throughout his working process produces composition that can have as much calm tranquillity as some works by Rothko. Amrish has fused abstraction, figuration, and landscapes in various ways. His unceasing journey to find new forms and subjects have made his overall output more eclectic.
Serenity 06
Acrylic on Canvas (2019)
Serenity 05
Acrylic on Canvas (2019)
SYNTHESIS
Acrylic and Oil on Canvas (2018)
GLIMPSE
Acrylic on Canvas (2016)
REMNANT
Acrylic on Canvas (2015)
EXHIBI Synthesis
Acrylic and Oil on Canvas (2018)
Vivid Strokes Gallery at Volvo Art Loft Singapore - 2015
Miami Art Week
Florida, USA - 2016
Lalit Kala Akademi New Delhi - 2016
"Aqua Art Miami" Art Fair
Miami, Florida, USA - 2017
Ceramic Center Gallery Chicago, USA - 2017
ITIONS Nehru-Wangchuk Cultural Centre Thimphu, Bhutan - 2017
Exhibition at The Nehru Centre London, UK - 2017
The ArtBox. Project | Art Basel 1.0 Switzerland - 2017
The ArtBox. Project | New York 1.0 USA - 2018
Karnataka Chitrakala Parishath
Bangalore - 2019
f
THE
FINE
MIND
Aditya Dev
Different times require different images. Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To Aditya's mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time.
A
ditya Dev is recognized for the purity of his abstractions and methodical practice by which he arrives at them. He radically simplifies the elements of his paintings to reflect what he sees as the spiritual order underlying the visible world, creating a clear, universal aesthetic language within his canvases.
of their precision, seemed plausibly representational despite their considerable level of abstraction, as can be seen in his The Untold Tale. He has combined abstract art with Surrealist fantasy. His mature style has evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life.
He draws images and materials from many diverse sources, discretely arranging each His singular vision for modern art is image in individual compartments on the clearly demonstrated in the progression canvas. Without a clear syntax or narrative, of his artistic style from traditional Aditya intends for the arrangement of the representation to complete abstraction. images and their meaning to communicate His paintings evolve in a logical manner, and clearly convey the influence of various and connect with an idea or feeling that already resides within the viewer. modern art movements such as Abstract Impressionism and Cubism. The goal of his works are to use the simplest form in order to convey the Aditya has balanced the kind of complexity of life, exploring the emotional spontaneity and automatism with effects of colors and of space directly on meticulous planning and rendering to the canvas. achieve finished works that, because
DEVILS' WORKSHOP Scratch on Board (2015)
THE UNTOLD TALE Oil on Canvas (2017)
PIUME | 119
PIUME | 120
a THE AWARDS
2016 - Honoured by Gandhi Peace Foundation 2019 - Honoured by Kokuyo Camlin
UNTITLED
Oil on Canvas (2020)
e THE EXHIBITIONS
2006 - Exhibition in Washington, USA
2009 - Exhibition of drawings at India Habitat Centre, New Delhi 2010 - Contemporary Artist Show in 57th St. Manhattan, New York 2010 - Participated in Indian Council for Cultural Relations exhibition, painting exhibition "Autumn@CWG2010", New Delhi 2019 - Art Gala auction representing series "Love, Thought and Karma"
JOURNEY IN PROCESS Acrylic on Canvas (2008)
UNTITLED
Oil on Canvas (2019)
MEET THE
LEGEND C.D. Mistry is one of the most influential Indian Artists of the 21st Century. Mistry’s use of unmodulated colour, inventive figuration, and decorative patterns has helped redefine many of the formal tenets of painting. What he dreams of is an art of balance, of purity and serenity.
C
D. Mistry's influence is profound and farreaching, and remarkably, many periods of his life are influential in their own right. Even though the energy in avant-garde art is distributed all over the world, Mistry remains a titanic figure, and one who could never be ignored.
His Creative Portrait series is celebrated for being modern art's finest collection. In no. 54, the female figure is shown from differing angles as if the artist had physically moved around the subject to capture it from different points of view at successive moments in time. The bird is shown in both profile and from side, while the figure of the woman is shown both straight on and in profile. Mistry ups the ante in this work, pushing his experiments in new directions. Building on the overlapping, geometric shapes, he moves further away from the illusion of threedimensionality and towards abstraction by reducing color and by increasing the illusion even further than Picasso did in Portrait of MARIE-THERESE.
“
“
In his Speak Sweet Collection, he invites the viewers to observe the subject closely, to gaze into her eyes and study her asymmetrical face and form. In many ways, his painting embodies the essence of the Expressionist style; His subjects visibly vibrates, contorts, shifts, pushes, and pulls, providing the viewer with Mistry's vision of the inner torment of his sitter. He has created painterly rhythms and swirling forms within the arrangement of the figure in order to convey elements of strength, intelligence, and melancholy. Through such intimate and personalized interpretations, Mistry has epitomized the rejection of Impressionistic optical observation in favour of an emotionally laden representation that appealed to the viewer's heart, rather than his mind.
A true artist is not one who is inspired, but one who inspires others.
Salvador Dali
Creative Potrait 54
Acrylic Ink on Paper (2015)
SPEAK SWEET
08
Mixed Media on Paper (2014)
24
CREATIVE POTRAIT
Acrylic Ink on Paper (1988)
HORSES
Acrylic on Canvas (2009)
t
e h EXHIBITIONS
1972 - Exhibition at Sanskar Kendra Museum Ahmedabad 1978 - Jehangir Art Gallery Mumbai 1984 - Participated in 15th International Exhibition of Art at Tokyo Biennale Japan 1986 - Participated in 6th International Exhibition of Art at Triennale India New Delhi 1986 - Paticipated in 3rd International Exhibition of Art at Havana Biennale Cuba 1990 - Award Winners 'National Exhibition of Art' by Lalit Kala Akademi New Delhi 1991 - Art Show by Commonwealth Institute at Bhowangree Gallery London 1991 - VII Triennale International Artists Camp Goa 1997 - Participated in 8th International Biennial Taiwan 1998 - The Harmony Show art exhibition by Reliance Industries Ltd. Mumbai 1999 - Lalit Kala Akademi Ahmedabad New Delhi 2007 - "Force & Fantasy" titled exhibition at Rabindra Bhavan New Delhi 2007 - Exhibition at Prince of Wale Museum (now known as Chhatrapati Shivaji Maharaj Vastu Sangrahalaya) Mumbai 2008 - "Force & Fantasy" titled exhibition at Jehangir Art Gallery Mumbai
t
e h COLLECTIONS
The paintings are in the important collections of Paintings in Lalit Kala Akademi New Delhi, Banglore and Gujarat Modern Art Gallery New Delhi Air India Mumbai Governor of Maharashtra Mumbai Kokuyo Camlin Private Limited Mumbai Oil & Natural Gas Commission (ONGC) Ahemdabad Birla Museum Pilai, Rajasthan Reliance Industries Limited Ahmedabad Kirloskar Group Bangalore Birla Group Mumbai
t
e h AWARDS
Speak Sweet 27
Mixed Media on Paper (2015)
National Award by the Ministry of Information, New Delhi in 1975
National Award by Lalit Kala Akademi in 1989
Love for the Lore Gopal Pardeshi is less concern with modernity in his works and more with surroundings and culture. Art to him is an anecdote of the spirit. His creations painted at different times throughout the day, has received critical acclaim from opinion-makers, buyers, and the public when exhibited at galleries.
HIS EVERY CREATION REPRESENTS A MOMENT, AN EVENT, A STORY, AN EMOTION.
Morning Light
Acrylic on Canvas (2011)
HAPPINESS
Acrylic on Canvas (2019)
COLORS OF LIFE Acrylic on Canvas (2019)
Aangan
Oil on Canvas (2016)
PIUME PIUME || 145 149
PIUME PIUME || 150 146
EXHIBI Lamp
Acrylic on Canvas (2018)
"Dastak" at Jehangir Art Gallery Mumbai - 2004
"Rural Obsession" at Kala Academy Panjim, Goa - 2005
"A Journey into the Past" at Maquinez Palace Goa - 2009
ITIONS A charity show at Raja Ravi Verma Art Gallery Pune - 2016
India Art Festival Mumbai - 2017
India Art Festival Delhi - 2018
K
K A peek at the artisanship of a maestro – Metiers d'Art paintings masterminded by Kashmiri Khosa
MAESTRO MASTERCLASS
W
hen a painter like Kashmiri Khosa approaches the canvas, he views this as a personal encounter, wherein the process of painting itself reveals the personality of the artist, and all the drama and emotion that comes with it. For him, painting is an existential exercise, a brutally honest form of self-expression. Mankind is defined by universal qualities. His essence, in other words, is everywhere the same, and essence precedes his existence in the world, which is contingent on external factors such as history and environment. This theme has played an important role in Existentialism. Kashmiri Khosa has maintained the importance of the individual, and his duty to determine the meaning of life. His paintings demonstrate art's interest in subjective perceptions and experiences – indeed the first level of those experiences, before the mind had time to process and reflect upon them. In this sense it can be
PIUME | 155
suggested that art is opposed to science, which is more interested in analyzing and rationalizing those experiences. A Flight Within, Boat of Life, Imprints of the Past might serve as an opening on to themes of Existentialism and Phenomenology. Through his work, he insisted on the distinctiveness of personal experience. In the decades that followed, Existentialism grew into a philosophy that placed stress on individual ethics and on the authentic experience of selfhood, on freedom and choice as can be seen in Transmutation. Here the painter's creative process is displayed as an act of necessary self-assertion, an expression of freedom and authenticity. His focus on individual experience made it a perfect tool to interpret abstract art. Some of his work from the Mountains of the Mind series addresses the uneasy coexistence of mind and body on which human beings rely, and Existentialism's interest in sensory perception offered a means to negotiate the sometimes difficult divide. His work is a visualization of our "universal horror of being-in-theworld," our fascination with the "otherness" of worldly phenomena. Transcendence is a key example of the artist's emotional relationship and response to the canvas, and it exemplifies Existentialism's stress on subjective experience.
Transmutation
Acrylic on Ten Canvas Boards (2001)
Towards Unknown
K
ashmiri Khosa appears to have made the most serious attempt to come to terms with the ideas of Existentialism. He is particularly preoccupied with problems of perception, and how the phenomenon of spatial distance might be registered. These problems go to the heart of Existentialism since they not only touch on our faculties of perception and thought, but also speak to how we relate to one another as isolated human beings separated by physical space. But Khosa's art also captures the melancholic tone of Existentialism: This painting shows a fragile subject, isolated and exposed to the elements, which consequently have begun to ravage his very being. The man is also emaciated, suggesting that he is slowly withering away, yet he still moves forward, presumably in search of something. Khosa's Towards Unknown is a portrait of man in the throes of an existential crisis.
Oil on Canvas (2011)
A
FLIGHT
THIS PAINTING EXEMPLIFIES KHOSA'S SKILLFUL USE OF PERSPECTIVE
WITHIN
Oil on Canvas (2009)
“
ART IS NOT AN EXACT SCIENCE BUT A MEANS OF CAPTURING THE COMPLEXITIES OF WHAT THE EYE OBSERVES.
MOUNTAINS OF THE MIND SERIES
Oil on Canvas in miniature format (2011)
Transcendence
Oil on Canvas (2010)
Kashmiri Khosa performs his painterly alchemy in Transcendence
Temenos He has been featured in “Temenos 13“ (A journal devoted to the art of the imagination) by Temenos Academy, London
PIUME | 164
Critic's Review
Mindscape/Suspence Oil on Canvas (2009)
LATE KESHAV MALIK (1924-2014) “The figures that K. Khosa draws are as if sculpted rather than painted. There is no attempt to show off painterly skill but merely the anxiety to explore the timeless dimension, for his art is not that of a perfectionist and performer but of one in favour of regeneration of deeper self.” “Here the artist is one who has some quintessential personal knowledge of humane existence; one who has unified himself sufficiently enough; or who has sensed that the empirical or pragmatic reality is coloured by the prism of eternity.” “The figures – angelic or serene – in Khosa’s work seem to float in ether – that sacred postulate of deep self communings.” (Keshav Malik was an esteemed Indian poet, scholar, art and literary critic. He is a Padma Shri and National Lifetime Achievement awardee.)
Thought Waves
Oil on Canvas (2010)
LATE KATHLEEN RAINE (1908-2003) “So seldom am I moved by the work of some new painter, poet or musician that I am tempted to conclude that I have with old age grown insensitive to the language of the arts. Khosa’s majestic paintings reassure me – they restore to our sick human world great life-giving presences of the Imagination.” (Kathleen Raine was a renowned British poet, scholar and literary critic. She was conferred the title of Commander of the Most Excellent Order of the British Empire and L'Ordre des Arts et des Lettres, France.)
t
e h EXHIBITIONS
1982 - Contemporary Indian Paintings at Hirshhorn Museum Washington D.C. 1983 - “Seven Indian Painters” selected by M.F. Hussain at Maurya Sheraton New Delhi 1984 - Contemporary Indian Art Tokyo, Japan 1984 - Jehangir Art Gallery Mumbai 1985 - Second Biennale Bangladesh 1990 - “Words & Lines”- A programme of Indo-German poetry in counter-point with the artists paintings by Max-Mueller Bhavan New Delhi 1992 - Exhibited at Design Art Gallery Dubai 1992 - Exhibited at Gallery 7 Hong Kong 1993 - ‘'Seven Indian Artists” Hungary 2006 - “In search of the Soul” Sponsored by the Arts Trust of Mumbai at Jehangir Art Gallery Mumbai 2013 - “Mind and Mountains” exhibition of paintings at India Habitat Centre New Delhi 2014 - "50 Years of Celebrating" by Camel Art Foundation at Jehangir Art Gallery Mumbai 2014 - An international exhibition of “Global Village” Netherlands, Germany and Denmark 2019 - Group exhibition at Conrad Hilton Pune, Maharashtra
t
e h COLLECTIONS
Boat of Life
Acrylic on Canvas (2007)
The paintings are in the important collections of The National Gallery of Modern Art New Delhi Sahitya Kala Parishad The Cultural Wing of the Government of National Capital Territory of Delhi (NCT) New Delhi
t
e h AWARDS
Imprints of the Past Oil on Canvas (2016)
President of India's Silver Plaque in 1974 (All India Fine Arts and Crafts Society)
National Award by Lalit Kala Akademi in 1981 (The highest honour for the fine arts conferred by the Government of India given to eminent artists for their lifetime achievement in the field of visual arts)
Neeraj Mittra Since the time Neeraj has begun painting his Horse series, it has proved to be the most recognizable part of his oeuvre. He happened upon the subject of the horse in his paintings, not with the greatest of intent, but instead through a process of intuition. He does not claim political or social motivation in the creation of his pictures, and yet his paintings highlight the most vital urge of all, that of mark making as means to pay homage to the visible world around us. The horse is a creature perhaps like the artist himself - tamed by human innovation but essentially wild by nature. Neeraj’s horse in Czar - The Gallop of Dreams has an air of ephemerality as it runs through the monochromatic void of the canvas, as if it will momentarily vanish and leave only a trace of its presence. It is a fragile image, perhaps alluding to a memory or the idea of a horse (wild and free but also tamable for human need) rather than a specific creature or
narrative. However, through its simple rendering and placement on an earthy background free of any other adornment, it also asserts its permanence through the allusion to humankind's oldest art - the cave paintings of Lascaux and Altamira. In reviving this ancient imagery in a time when painting is putatively dead, Neeraj offers a delicate but forceful rebuttal to that claim and asserts the enduring power of the image and the artist. He combines refined aesthetic sensibilities, showmanship and commercial wiles to position himself as the preeminent artist of India. The type of individual sentiment he imbues his canvases with is much more gnomic, cerebral, personal. It is the kind of painting that invests every area of the canvas with feeling without ever spilling over into Expressionist abandon. Stallion Speak demonstrates Neeraj’s studied but sensuous brushstrokes and how he manifests his poetic, private visions into a visually beguiling work.
Ever the master of equine painting Neeraj Mittra
The
GALLOP Of DRE
CZAR
EAMS
Charcoal on Handmade Sheet (2020)
Flowing Equines - Emperors
Charcoal on Paper (2020)
This is not the equine hero of David's Napoleon Crossing the Alps (1 charcoal drawing of two horses drawn on a flat canvas, less intereste
BACK BLACK TO
1801) or the noble but gentle mounts of George Stubbs; rather, this is a ed in the anatomy of a horse and more in the act of mark making itself.
Flowing Equines - The Flow of Life Water Colour on Paper (2020)
Flowing Equines - The Rising Dreams Water Colour on Paper (2020)
Pharaoh - Contoured Powers Mixed Media on Paper (2018)
Pharaoh - Reflections Of Deep
Mixed Media on Paper (2018)
THE EXHIBITIONS
Bronze Sculptures Exhibition at Academy of Fine Arts Calcutta - 1993 36th National Exhibition of Art, Lalit Kala Academy New Delhi - 1993 Jewel of the East exhibition in London United Kingdom - 1994 Bronze Sculptures Exhibition at Triveni Kala Sangam New Delhi - 1995 Beyond & Beneath, painting exhibition at Balassi Institute Hungarian Information & Cultural Centre, New Delhi - 2004 46th National Exhibition of Art at Lalit Kala Academy Kochi, Kerala - 2004 Exhibition at Triveni Kala Sangam New Delhi - 2005 Exhibition '60th Milestone' at Travancore House New Delhi - 2007 Painting exhibition 'Eloquence' at AIFACS New Delhi - 2007 3rd Indian Contemporary Painting and Sculpture Exhibition Lalit Kala Academy, New Delhi - 2008
Painting exhibition 'Whole soul' at Balassi Institute - Hungarian Information & Cultural Centre, New Delhi - 2008 Exhibition 'Beyond Lines' at Indian Habitat Centre New Delhi - 2008 Sculpture exhibition 'Moonsoon Sutra' and 'Sculpture Garden' at Balassi Institute - Hungarian Information & Cultural Centre, New Delhi - 2011 Tükör - A tribute to relationships, exhibition at Balassi Institute Hungarian Information & Cultural Centre, New Delhi - 2012 Exhibition titled 'Affection' at Nehru Centre London, United Kingdom - 2013 Exhibition 'Arte En Bhutan' at Nehru Wangchuck Cultural Centre Embassy of India, Thimphu, Bhutan - 2013 'Ekam' exhibition at Indian Habitat Centre New Delhi - 2014 Art Show 'Bindu' at the American Centre, U.S. Embassy New Delhi - 2016 Exhibition 'Kaleidoscope' at Indian Habitat Centre New Delhi - 2016 'Wings for Change' exhibition at the American Centre, U.S. Embassy New Delhi - 2017
STALLION SPEAK Oil on Canvas (2016)
Critic's Review
“
Neeraj Mittra exhibits (Triveni Sculpture Court) figurations in many materials. Of these the largest terracotta, Puppets of Being is more notable. Also promising are some metal pieces like Actors Thrown Together. Earth from Space is an imaginative conception. Said in an article titled as 'Colour and form build up to moments of life' in Times of India, 1995 Late Keshav Malik (1924-2014)
Keshav Malik was an esteemed Indian poet, scholar, art and literary critic. He is a Padma Shri and National Lifetime Achievement awardee
NEERAJ GUPTA Passion, above all else, rules this sculptor and architect, Neeraj Gupta. Inspired by the rich cultures of India and embracing his heritage, he creates sculptures that are strikingly simplistic. He transforms the conceptual and minimal approach to sculpture by adding lyricism and metaphor. He does not wish to present a prescriptive idea, but instead to create an environment within which people themselves can consider meaning. As the viewer becomes part of the sculpture, each work not only speaks of the confined individuality of a single body, but also of the expansive inclusiveness of a shared place.
DIVINE
E LOVE Medium: Metal on Wood
LIFE
OF MY LIFE Medium: Wood
PIUME | 193
PIUME | 194
blosso Medium: Wood
oming THE
STONE
’ CRITIC S REVIEW PIUME | 197
O
nly from time to time are there genuine, fresh mutations in the art of sculpture. Artist Neeraj Gupta’s literally magnum works (in wood, marble and Metal) are equally weighty with profound realities. The imaginative treatment of these works lends a feel of timelessness to the whole, large expositions. So the Yantra series in the Charter of Heavens, so the Dawn of consciousness, The Thumbprints of Nature, Immortal Love, The Miracle of Creation and other vertically rising sculptures – among them is also The Vivacious, The Great Indian Bazaar series, bustling with the country’s out-door life at once amusing and upliftings. - KESHAV MALIK
Neeraj Gupta is an art aficionado who has spent the better part of the last decade serving the arts in Delhi as well as being a frontrunner of environmental campaigns to make the capital city beautiful and ecologically symbolic in going green. An accomplished architectural engineer turned sculptor and installation artist he has spent the better part of the last few years trying to bring together sculptors and lesser known artists to give them a platform. A winner of many awards, as President of the Delhi Arts Society Neeraj believes deeply about doing something for public art in the capital city. The recent show iSculpt at Gandhi King Plaza was a stepping stone to such a venture. As member of advisory board of IIC for six years, he made valuable contribution for various programs of IIC. He believes in connecting and collaborating with the best in the art world kingdom and creates networks for artists to bloom. Serving the art movement and working for habitat related environmental issues, is his mantra and he believes the IIC is the best space for furthering this quest. - UMA NAIR
e T HE EXHIBITIONS
2003 - Art show named "KALYUG" at Lalit Kala Academy New Delhi 2004 - Participation in National Exhibition of Art of Lalit Kala Academy, New Delhi 2005 - Exhibition named "ENDURING STONES DEEP WOODS" India Habitat Centre, Delhi 2005 - Solo show at Domestic Airport of Indira Gandhi Airport Delhi 2006 - Solo show of works at Indira Gandhi International Airport Delhi 2008 - Solo exhibition show named "THE INNOCENT EYE" at India Habitat Centre, Delhi 2008 - Solo show at Jahanghir Art Gallery Mumbai 2010 - Art show named "HORIZONTAL VERTICALS" at India Habitat Centre, Delhi 2011 - An exhibition showcasing 100 yrs of Delhi Hungarian culture centre
Medium: Wood
WE RISE ON THE SHOULDER OF OUR FATHERS
2013 - Solo show named " KAYAKALP " at India Habitat Centre Delhi 2014 - Art Exhibition in India International Centre Delhi 2015 - Art Exhibition named : BREATH BETTER TOGETHER" in India International Centre, Delhi 2015 - Art show named "FOLK STRANGERS" at Visual Art Gallery India Habitat Centre, Delhi 2016 - Participated in Santorini Biennale Greece 2018 - Participated in NORD ART Germany 2019 - Participated in Beijing International Art Biennale China 2020 - Oak Bay Arts, 2020 Arts Alive Sculpture Walk Public Art Program, Vancouver, Canada
a THE AWARDS
2004 - Sahitya Kala parishad Award, 28th Annual Art Exhibition by Govt. of N.C.T. Delhi 2005 - Best sculptor award in 77th Annual art Exhibition of AIFACS Delhi 2017 - Won the Lorenzo il Magnifico SILVER award at the XIth Florence Biennale, Italy 2018 - Finalist of the Woollahra Small Sculpture Prize Sydeney, Australia 2019 - Eminent Artist of India in the 60th National Exhibition of Art by Lalit Kala Academy (National Academy of Art), Delhi 2019 - Member of Royal Society of Sculptors United Kingdom
HELLO FROM THE OTHER SIDE Exploring the Surreal – The mastery of RAVI TRIVEDY
R
core stream of unconsciousness. He tries to make forms grow. He puts his trust in the example of stars, clouds, plants, animals, men, and finally in his innermost being. Ravi plays a pivotal role in the abstraction of the body and nature through his involvement with Surrealism. He is known for organic abstraction: bringing the Ravi is an innovative artist, steeped in both Dada and Surrealism, who mined his abstract, organic forms of Dada towards unconscious for imagery meant to provoke more biomorphic Surrealist images and sometimes mock social convention. He and further obscuring their possible meaning through his choice of titles. feels that the modern world is irrational; Transformation, growth, fecundity, and An idea that forms the basis for much of metamorphosis are common themes in his his work. He even created an alter ego work. called "Napoleon, The one eyed cat" that would find itself in many of his works; One such work is the Napoleon guides the He wishes to question the very notion of art and the adoration of art by presenting explorer (Ceramic, acrylic 2017). objects in an indifferent fashion. This is in direct opposition to what we know as He is inspired from the worlds of the "retinal" art, or art intended merely magical folklore, literature, philosophy, anthropology, metaphysics and spirituality to visually please the viewer. Clearly he wants to put art back into the service of in accord with Surrealist elements and archetypes of the unconscious to create his the mind. He takes a pre-existing object work. The effect on the spectator becomes and alters it. The Temptations of Señor rich with symbolic connotation, pulling on Salvador (Ceramic, Wire, 2017), Bapu Conquers the World (Ceramic 2018), both the personal and universal points of The War was won on a Strategic Choice resonance. (Ceramic 2014) are few such examples. Seller of dreams (Ceramic 2016), is from a The combination of these objects is series of sculptures made by Ravi spanning odd, creating a surreal feel yet when we delve deeper we find the concept of both Dada and Surrealist genres and transformation and metamorphosis in the marks his transition from the former to objects.... it is worth nearly all the tricks of the latter. Loosely literal and mysterious, the piece points to its conception within a art put together.
Ravi Trivedy is the trickster of the Surrealist art, which is evident in this interpretation of Issac Newton Defines the Gravitational Constant (2019) Medium: Ceramic
Napoleon Guides the Explorer (2017) Medium: Ceramic and Acrylic
PIUME | 209
PIUME | 210
The Temptations of Señor Salvador (2017) Medium: Ceramic
PIUME | 211
PIUME | 212
Bapu Conquers the World (2018) Medium: Ceramic
PIUME | 213
PIUME | 214
The War was won on a Strategic Choice (2014) Medium: Ceramic
PIUME | 215
PIUME | 216
INSIDE THE Forging the Modern Man (2018) Medium: Ceramic, GI Pipes
I
t is what it says it is - a man with GI pipes, a classic example of a Surrealist object made from the conjunction of two objects not normally associated with each other. The individual objects are unaltered yet the power is in their unexpected blend - an absurd dream made manifest. The viewer is first compelled to imagine how it feels to be a modern man. It offers a jarring visual clash between a modern human being and pipes. Although, seemingly playful this duality hints at darker origins if we too, like the Surrealists, follow Freud's theories on dreams. The deviant brilliance of Ravi is exorcised in this piece where we glimpse his fears, anxieties, and obsessions of the modern world. This work is originally titled Forging the Modern Man, which reflects the meeting of lust and fear in the artist's mind that the pipe represents. His brand of surrealism, although centered on subjects is never without a hearty dose of the jester, portrayed with dramatic humor.
PIUME | 217
MIND
Seller of Dreams (2016) Medium: Ceramic
An Infinite Quest (2020) Medium: Ceramic
EXHIBITIONS Exhibition at the Bombay Art Society Mumbai, Maharashtra September, 2017 Art Show at Conrad Hilton Pune, Maharashtra December, 2019
PU I
UME Artists
Mermaids & Unicorns
The Boy who goes to the Moon every night.
Avineer Rakshit
The Happy Space
This young artist takes us to where the magic happens PIUME | 224
A
vineer (Dodo) Rakshit is all of 12 years. He loves Xbox, his collection of cars and he really loves Asterix. His favorite holiday is Christmas, and his birthday is April 13th. He doesn’t love school much except for some classes, like Chemistry and Mathematics. And lunch and recess. He mostly dreams of going into the outer space to visit the planets one day.
Like any other boy of his age, he too is mischievous with an active imagination and unflagging energy. He has a real zeal for drawing (Pencil Sketches) with a focus on automobiles, air craft, ships and submarines only. He is a self taught child and has been sketching since the age of 1.5 years. He follows his impulses as a result his sketches walk the line between surrealism and realism.
Friedrich Wilhelm Heinrich Alexander von Humboldt (1769 - 1859), more simply called Alexander von Humboldt, was a notable Prussian geographer, explorer, and naturalist. He is widely recognized for his works on botanical geography which laid the foundation for biogeography. His last name is something many animal lovers may already be familiar with, as the Humboldt squid that lives in the Humboldt Current of South America, is named after him.
About the Painting Alexander von Humboldt and amé Bonpland in the Amazonas jungle. (Alexander von Humboldt und Aimé Bonpland in der Urwaldhétte) Oil by Eduard Ender (c.1850) in the Berlin-Brandenburgische Akademie der Wissenschaften.
Pencil Sketch on Paper
About the Sketch
Alexander von Humboldt is a German sailing ship originally built in 1906 by the German shipyard AG Weser at Bremen as the lightship Reserve Sonderburg. She was operated throughout the North and Baltic Seas until being retired in 1986. Subsequently, she was converted into a three masted barque by the German shipyard Motorwerke Bremerhaven and was re-launched in 1988 as Alexander von Humboldt.
McLaren F1
Pencil Sketch on Paper
PIUME | 230
Focke-Wulf 190 A8
Pencil Sketch on Paper
PIUME | 232
Pencil Sketch on Paper
Ferrari 250 GTO (1964)
Pencil Sketch on Paper
THE BRITISH COLLEGE OF ANDORRA ELISE RENÉE
Let me begin by mentioning Avineer's undeniable talent for drawing. I applaud his skills and encourage him to continue nourishing his ability and artistic gift.
DULWICH PICTURE GALLERY WASHIELA PASSEY
Thank you for sharing Avineer's gift of art, his sketches are flawless and very meticulous. His parents must be very proud of him, as at such a young age his ability to sketch such difficult objects with so much finesse. Congratulations and please continue in your support for him. He is simply brilliant and should continue with his work.
VANCOUVER ART GALLERY Thank you as well for sharing Avineer's work with us - it is wonderful to see! We very much encourage him to continue drawing as he clearly has an interest in the arts and is driven to learn. We wish Avineer much success!
CARTOON MUSEUM LONDON ANITA O'BRIEN
Avineer clearly has a talent and passion for drawing machines. I do hope he continues to develop his art.
EXHIBITIONS
Art Show at Conrad Hilton Pune, Maharashtra 2019
PU I
UME Exhibitions
Everything has beauty, but not everyone sees it. Confucius
feelberry
There is exhibitiona playful energ y i exper ienc . Collaborations mbued throughou t e the freedo that through Ka o warmly embrac t Feelberr y Antik ' s individua m of expression in hmir i Khosa's dis e that freedom of s Ar t Moments p Bhadur i l br illiance of ar ti the method of sket lay of few of his expression; we s c b a collection nd collective sync ts like Ravi Tr ived hing by Avineer R est creations to all else, s of talent with the hronicity, inspired y, Arpita Bhattac akshit. Without h e a exhibition rendipity against bility to interpret vision and team i ar ya, Madhur i t i ar tists an . This thank you he odds, there wou deas on another le nventiveness (a g spir it of Ad Conrad, Pune w oes out to each an ld have been no e vel), and above xc h r t, and re d flecting it o suppor t the Ar t ever y individual itement to this M , back thro ugh word oments ethos, of team, media, h s, picture s and cre arnessing the ative ene rg y.
y
s e
ANTIK
'
AUTUMN 19 Location Courtesy: Conrad, Pune
Artworks by (L to R): Kashmiri Khosa Arpita Bhattacharya Avineer Rakshit Madhuri Bhaduri Ravi Trivedy
oment
ART
KABANA CORIANDER KITCHEN LOBBY
The
HONESTY
in art.
Potent and
PURE.
RAVI TRIVEDY COLLECTION
PU I
UME Collectibles
1
2
3
RUSSIA
GERMANY
BELGIUM
4
5
6
SWEDEN
ENGLAND
NORWAY
CATALOG 1. RUSSIA
261 263
2. GERMANY
267 269 273 281 285
3. BELGIUM
289 291
4. SWEDEN
297 299
5. ENGLAND
301 303
6. NORWAY
305 307
1.1 A Doll within a Doll 2.1 Frau Trude 2.2 The Räuchermann of the Ore Mountain 2.3 Ulm Ceramics 2.4 Villeroy & Boch (Blue Castle) 3.1 Cat Got Our Tongue 4.1 A Thing of Beauty 5.1 Royal Tudor Ware 6.1 The Vikings, The Valour and The Valhalla
PIUME | 260
1
RUSSIA
Hand Painted Wooden Dolls (Set of 5)
DOLL
WITHIN A
DOLL
It is difficult to believe that the nesting doll, what some might consider the embodiment of Russian culture, was just born some 100 years ago. Nesting doll history began in the 1890s. The smoke and noise of Russia’s industrial revolution inspired a romantic notion: Was the key to peace and harmony a simpler way of life? Artists turned to Russia’s peasantry for the thread that would unite the country with its past.
T
he country was no stranger to woodworking. Russian craftsmen had been producing nesting toys such as Easter eggs for several years, but the appearance of the nesting doll remains a bit of a mystery. She was created at the Children’s Education Workshop-Salon in Abramtsevo, a toy company founded by patron of the arts, Savva Mamontov. Some say the idea was inspired by a nesting toy featuring the Seven Gods of Fortune that Mamontov’s wife brought back from a trip to Japan. Others insist that the doll was a result of the workshop’s constant demand for new products and was of the artists’ own invention. The memoirs of one of the era’s most esteemed lathe operators, Vasilii Zvyozdochkin, make no mention of the Japanese toy. However, he does describe an attempt to create a solid wooden doll at the Children’s Education Workshop-Salon, writing that he and his colleagues decided their creation would be more interesting
if the doll were hollow and had more toys hidden inside of it. Whatever the case, the result of their efforts was the very first nesting doll, The Rooster Girl. She came from the Russian countryside bearing a black rooster and dressed in a kerchief and work apron. The wooden doll was hollow on the inside and could be opened up to reveal a second doll. This doll held another, which held another, and another, until a seemingly endless number of siblings had emerged from within the first. Each child carried an item telling of peasant life: a basket, a sickle, a bowl of porridge, a broom, and a younger brother in tow. Nestled in the center was a baby swaddled in a patchwork quilt: hope for the future in the promise of generations to come. They named her Matryoshka, or little mother. The art form caught on quickly. In 1900 one of the Russian wooden dolls was taken to a show in Paris, where it received an award. After such a favorable introduction, many artists and lathe operators began to devote their time to making matryoshka dolls. Zvyozdochkin, himself, dedicated the rest of his life to teaching others the carving aspect of nesting doll production. The nesting doll shape and concept became a canvas for renderings of political figures, illustrating Russian fairy tales, creating religious icons, and much more. Virtually any image one could imagine can be adapted to its versatile
shape.
Hand Painted Wooden Dolls (Set of 5)
2
GERMANY
FA T WIT
One of the Brother the story of a willf
FRAU TRUDE
ACE THE TCH
rs Grimm’s collected tales, which tells ful girl who meets an unfortunate end.
O
nce upon a time there was a small girl who was strong willed and forward, and whenever her parents said anything to her, she disobeyed them. How could anything go well with her?
One day she said to her parents: “I have heard so much about Frau Trude. Someday I want to go to her place. People say such amazing things are seen there, and such strange things happen there, that I have become very curious. Her parents strictly forbade her, saying: “Frau Trude is a wicked woman who commits godless acts. If you go there, you will no longer be our child. But the girl paid no attention to her parents and went to Frau Trude’s place anyway. When she arrived there, Frau Trude asked: “Why are you so pale?” “Oh,” she answered, trembling all over, “I saw something that frightened me.” “What did you see?” “I saw a black man on your steps.” “That was a charcoal burner.” “Then I saw a green man.” “That was a huntsman.” “Then I saw a blood-red man.” “That was a butcher.” “Oh, Frau Trude, it frightened me when I looked through your window and could not see you, but instead saw the devil with a head of fire.” “Aha!” she said. “So you saw the witch properly outfitted. I have been waiting for you and wanting you for a long time. Light the way for me now!” With that she turned to girl into a block of wood and threw it into the fire. When it was thoroughly aglow she sat down next to it, and warmed herself by it, saying: “It gives such a bright light!”
* Product Details on Request
The toy-making industry in Seiffen is roughly 300 years old and still going strong.
SPLENDID
S
SEIFFEN
The Räuchermann of The Ore Mountain
T
he history of wooden toymaking in the Ore Mountains is closely bound to regional circumstances. The Ore Mountains are located in Central Europe on the border between Germany and the Czech Republic. For many centuries it was a countryside in which the local population eked out a hard existence from the land. Long and harsh winters restricted agriculture; in addition the region had very poor communications. With the onset of ore mining a new line of commerce developed, but the hard labour and high risks involved meant that it was only work for young and strong men. Many were injured or died as a result of accidents. The miners rose early in the morning whilst it was still dark in order to go to work and did not return home again until late in the evening after dark. From those times comes a custom that has survived to the present day, the practice of placing lights in the window. These lights were intended to show the miners the safe way back to the homes of their families.
Many of Germany’s traditional handcrafted wooded toys and decorations come from Seiffen.
It was not long before the winnings of silver ore fell in many parts of the mountains and numerous pits had to close. This hardship forced its inhabitants to look for other work and, thanks to abundance of timber in the region, the manufacture of wooden toys became an important secondary source of income. Entire families were engaged in wooden toymaking, especially in the harsh winters. Child labour in conditions of poor lighting and equipment was the rule rather than the exception. The children often had to work more than 12 hours a day. Families developed a high degree of specialisation. For example, an experienced turner would be working on turning animal shapes (Reifendrehen), another man carved the animal figures out of it and another family took over the painting and the manufacture of small boxes. Earnings from the individual steps in the process were very low. Production was usually
bought by travelling merchants who used their position without mercy, to force down the prices. The majority of these products was taken to the toy markets of Nuremberg and redistributed from there. The formation of associations and cooperatives (such as Dregeno) was in order to ensure a minimum level of income. Production is concentrated today in the toymaking village of Seiffen and its surrounding area in the middle of the so-called “German Christmas Land” as the Ore Mountains are called. A great variety of products has developed, but they are clearly associated with the Ore Mountains and go by the concept of Ore Mountain folk art. They include many typical wooden Ore Mountain products such as Christmas pyramids, wooden Räuchermann incense smokers, nutcrackers, wooden figures (Christmas Angels, miners, turned animals,
Vintage handmade wooden horse, hand crafted in Germany, with full saddle and leather tack gear.
1- Tier Pyramid Steam Engine with Station Scene Painted: plus one pack of candles (red)
Vintage German Hand Carved Wooden Deer
etc.), Christmas mountain scenes (Weihnachtsberge) and Ore Mountain candle arches. Presently, many of Germany’s traditional handcrafted wooded toys and decorations come from Seiffen. There, specially trained craftspeople work to preserve the centuries-old techniques and pass them on to the next generation. Seiffen itself looks like it belongs in a Christmas tale. All meandering lanes and half-timbered buildings, it is situated in a valley surrounded by forested hills. It’s the quintessential German village, a place where time appears to have stood still. But it’s also home to a thriving technical college that teaches the tricks of the toy-making trade to the next generation.
A DYING TRADE
Students learn techniques such as wood turning, and how to chisel angels, nutcrackers and so-called “smoking men” out of timber. Seiffen’s Christmas decorations are world famous, and some of the local techniques are unknown elsewhere in the world. “These painted wooden dolls were given to children hundreds of years ago,” said Isabell Goehler. “They wear skirts that are hollow inside and fitted with little wooden globes. They’re very typical of the Ore Mountains region.” The toy-making industry in Seiffen is roughly 300 years old and still going strong. The local college accepts some 20 trainees a year, aged between 16 and
26. Competition for admission is tough - even though sleepy Seiffen is hardly the sort of place young people would normally want to spend much time in. Moreover, after a hard week’s training, they’re often required to spend their weekends woodcarving in public workshops for the benefit of the tourists. OLD-SCHOOL CRAFTSMANSHIP
But, as Goehler said, toy making requires a lot of patience. She and her colleagues spend hours diligently piecing together Lilliputian dolls’ heads, arms and torsos, painting miniature animals and affixing tiny wooden gingerbread to equally tiny wooden market stands. “People are amazed that we can spend so long painting a few details on a minuscule doll’s head,” she explains. “But we love our craft - it’s a love many of us have had since we were children.” Her colleagues Sandra Schubert and Sebastian Weinrich would agree. They both describe toy making as a job that never gets boring: It involves sawing, shaping, woodturning, carving, carpentry and painting. They also enjoy the fact that they’re a dying breed - few outside of Seiffen are masters of the craft. “Visitors to Seiffen go around marveling at what they see,” said another colleague, Jenny Wagner. “That’s when we realize that what we’re doing is something special.”
Smoker - Woodchopper
Smoker - Cook/Chef (Edge Stool)
Smoker - Hunter
Making flowers
B
T
L
O
he Ulmer Keramik (UK) manufacture, based in Ulm , later NeuUlm, began producing items such as tableware, tiles and promotional items from ceramic in 1947. The plant was closed in 1991. The manufactory was founded by Heinz Saur (November 6, 1916 in Essen, November 9, 1962 in NeuUlm) and entered on June 7, 1946 in the Ulm municipal business directory. After reconstruction and expansion of Fort Prittwitz in Ulm, the production of tableware in redbrown shards was started there in early 1947. On December 19, 1947, UK was entered in the commercial register. From 1947/1948 mainly hand-painted majolica was made. According to the Chamber of
O
M
Industry and Commerce, UK had 25 employees on January 13, 1948, mostly displaced persons from Silesia and Bohemia. Among them was the head of painting, Baroness Sybille von Rotkirch, who had studied art and painting in Berlin. As early as April 1948, the Municipal Trade Office had 50 to 60 employees. After the currency reform in 1948, there were first sales difficulties. After this crisis, the company went up again. In 1952 it took over the machine park of WMF Geislingen. In 1954, 200 employees were employed, 60 artists painted up to 1,500 of the approx. 130 items with different decors every day. The motifs were popular: fauna and flora, traditional costumes, landscapes around the Mediterranean, from
Ulm Ceramics Hand Painted Floor Vase Decor “flower”
Paris, the Orient and the Far East. Facades and interior walls of wellknown breweries, restaurants and cafés were extensively decorated with hand-painted tiles. Almost everything was made for everyday use and to beautify the apartment. In 1954, the UK was one of the largest majolica factories in Germany with 15 modern kilns (electric spiral ovens). 40% of the production was exported to Europe, the USA and Canada. For the first time, a German ceramic manufacturer reached the world market suppliers Netherlands and Italy. In 1956, the UK expanded its capacity to 17 kilns. 260 people produced 6,000 to 10,000 articles a day; the UK was the largest majolica factory in the Federal Republic. From the mid-1950s, major companies had promotional items made up to 50,000 pieces. The decoration of mass production was only possible on this scale with screen printing. The designs for this came from Ernst Konrad, who stayed at the UK from apprenticeship to retirement. Hand painting was retained for smaller quantities. UK had to expand due to operational reasons. Since this was not possible in Ulm, construction
was carried out in Neu-Ulm. The new plant was opened on July 11, 1959. After Saurs death on November 9, 1962, the authorized officer Albin Blechschmidt, the former general manager Rudolf Mezger and Hans Forstner from Neu-Ulm - a war comrade Saurs - inherited the company in equal parts. The company was converted to a limited partnership on August 30, 1963. Mezger retired in 1964 and the company’s headquarters were relocated to Neu-Ulm. In the period from 1977 to the late 1980s, sales halved. In 1985 Forstner also left the company, his son Johannes Forstner became manager. In the same year, Blechschmidt sold his share to Dr. Erich Merckle from Ulm. Together with Johannes Forstner, he took over the management. At that time there were 55 employees in the UK. Due to the cyclical decline in promotional items and imports from Asia, sales declined sharply. In 1990 the management decided to give up the business. A clearance sale took place from March 1 to March 28, 1991. On March 31, 1991, the business ended. The majority of the operating equipment was sold to ElsterKeramik GmbH in Elsterwerda .
Hand-built work made by ceramicists who approach clay as a tool for engineering silhouettes. Not pottery at all, but architecture
* Product Details on Request
VILLEROY & BOCHe
l t s a C Blue COLLECTION
Villeroy & Boch is a trusted international lifestyle brand, offering sophisticated tabletop and home dÈcor products that showcase European design and expertise in ceramic production. Familyowned since 1748, 2018 marked the company's 270th anniversary as one of the largest producers of premium porcelain and ceramic products worldwide. From the tiles in New York's Holland Tunnel and on the Titanic and to custom dinnerware on the Orient Express trains and at the Vatican, Villeroy & Boch has surely left its mark on history. Maintaining its high-profile today, you may have also spotted Villeroy & Boch products in some of your favorite TV shows
and movies, such as House of Cards, American Horror Story, Ocean's Eleven and many more. It’s time for Villeroy & Boch to leave its mark on your family. Dining with loved ones is a timehonored tradition and a beautifully set table invites family members to linger awhile, making memories. Let Villeroy & Boch's sophisticated tableware become a part of new family traditions and memories that will last a lifetime! Allow us to bring the feel of a charming country cottage to your tea room with this beautifully decorated premium porcelain teacup set. Villeroy & Boch Blue Castle has been retired. This is an antik collection.
* Pro
oduct Details on Request
* Product Details on Request
3
BELGIUM
CAT GOT OUR TONGUE
The Strange History Behind Kattenshoet, Belgium's Cat Throwing Festival
A
t the moment, the best place in Belgium to be a cat might be Ypres, where every three years a large folkloric parade is held in the animal's honor. However, a peculiar part of the activities, the flinging of plush cats from the city's bell tower, hints at the festival's less feline-friendly origins. Once upon a time, being a cat in Ypres on the second week of Lent equaled certain death. That Wednesday, a day that became known as "Cat Wednesday," PIUME PIUME || 235 291
marks a dark page in feline history as the city's cats were rounded up and thrown off of the highest tower. Written records show the tradition goes back as far as the 12th century. In the Middle Ages, Ypres - now mostly known as a major battlefield of the Great War was a merchant town with a thriving cloth industry. Bales of wool would be shipped in from England and kept at the large 'Lakenhalle,' or Cloth Hall, along with already processed sheets, a paradise for mice and rats. The people
Modeled in unglazed ceramic, this black sculpture of a cat is sitting in a relaxed pose with ears pointed slightly to the side and slightly forward. This indicates contentment and sense of well-being. She's neither fearful nor aggressive in her posture.
This is an antique ceramic cat figurine and a fine example of black pottery belonging to the 18th century. It has a hand painted maker's mark at the bottom as can be seen and is quite finely potted. This is virtually a single and rare find from a place called Malle in Belgium, with no defects or markings.
of Ypres enlisted cats to eat the mice and keep them from gnawing holes in their livelihoods, a solution that worked perfectly at first - until their micecatchers, presented with a veritable smorgasbord, started to breed like bunnies themselves. Coupling their cat surplus with an already widespread belief that the animal was in cahoots with evil spirits, witches, and the devil, the Ieperlingen made throwing tabbies off of their 70-meter-high Belfry a mass spectacle. And while lots of other Belgian cities, such as Bruges, thought up cruel cat-torturing techniques in those superstitious days, Ypres has its modern festival to thank for reminding people of its cold-blooded past. That said, the last live feline to be chucked off the tower in 1817 did his species proud by surviving the fall and dashing off. On that hopeful note, the people of Ypres changed their ways. They wouldn't throw another cat off the bell tower for over a century, and when they finally decided to revive the age-old tradition in the 30s, they did so with stuffed toys instead of the real thing. In fact, Ypres has been making amends to the feline race for over 80 years now. May 13, 2018, was the 44th edition of the triennial "Kattenstoet," or "Cat Parade," a folkloric festival that attracts tens of thousands of cat lovers from PIUME PIUME || 239 295
around the globe. The afternoon sees an impressive parade with floats, giant cats, and about 2,000 local volunteers dressed in medieval garb. The highlight of the day comes when the procession arrives at the bell tower, and the jester throws plush cats into the sea of people on the market square below - whoever catches a toy gets to make a wish, even a non-catrelated one. International cat lovers come from far and wide to witness the feline splendor.
Origin of Black Pottery Malle is located in the Campine (Dutch: Kempen) region, which historically was not densely populated, and consisted of enormous heaths and marshlands, interrupted by woods and swampland. Since the Middle Ages the majority of the land in the Campine has been cultivated. Until the 18th century Oostmalle was known for its black pottery, such as "Lollepotten" which were small stoves used for room heating in winter.
Product Details Period: 18th Century Materials: Handmade Black Pottery Origin: Belgium, EU
4
SWEDEN
Handcrafted Wooden Dala Horse
A Thing of Beauty The History of the Dala Horse The image of the horse goes back thousands of years. The magic and mystique surrounding the horse inspired people to recreate their image in cave and rock paintings. Horses were highly valued and became a symbol of strength and courage. They arrived in Sweden 4000 years ago and were tamed and domesticated around that time. In the 17th century little wooden horses were sold at markets in small towns and villages in Dalarna, in central Sweden. A hundred years later wooden horses were carved by men working in the forests during long winter evenings and brought back to the village for the children to play with. This is how the little wooden horse from Dalarna became a treasured object. These simple wooden horses were
later painted in bright colours inspired by the flower patterns painted on furniture and walls in the region. During this time travelling salesmen selling traditional household items would also bring Dalahastar to use as payment for board and lodgings. They also became an important source of income for poor families. Even young children had to learn to carve wooden horses after returning home from school. The children of one such family started a small business at the ages of 13 and 15 in 1928. Their children and grand children are still producing the Dala horses to this day in a little village called Nusnas in Dalarna. Their Dalahast (also known as a Dala horse or Dalecarlian horse) has now become an authentic symbol of Sweden.
5
ENGLAND
Royal Tudor Ware Also known as Royal Tudor, est. 1828 - Staffordshire England
T
he birth of the famous English porcelain happened in the city of Stroke-on-Trent, commonly known as ëthe Potteriesí, the well-known home of the pottery industry in England since the 18th century. Thanks to its rich heritage, Tudor England porcelain has tied together all the skills, quality and expertise of a few generations of potters to create a high-class masterpiece from every piece of fine porcelain.
This pottery plate comes from the series 17th Century England and has a deep blue decor. The pattern is “Coaching Taverns”, where the central motif depicts every day life in the 17th Century. The pattern features: A Post Office, Stagecoach, People, Animals, Church Steeple, Trees, Clouds, Flowers and Tavern. This type of Blue & White Transfer-ware was developed & popularized in England, during the 1750’s, at the beginning of the Industrial Revolution. The edge is richly decorated with floral rim. It comes with a backstamp of Coaching Taverns; Royal Tudor Ware, est. 1828 Staffordshire, England.
6
NORWAY
VIKINGS
THE
The Vikings came from three countries of Scandinavia: Denmark, Norway and Sweden. The name 'Viking' comes from a language called 'Old Norse' and means 'a pirate raid'. People who went off raiding in ships were said to be 'going Viking'. Historically, the Viking era began with the attack on Lindisfarne monastery in AD 793, and ended with the Battle of Stamford Bridge in 1066, when the English army successfully repelled the Viking invaders led by King Harald Hardrade. The Vikings' seaworthiness and impulsiveness led to the development of new areas along the Norwegian coast, westward to Iceland, the Faroe Islands, Shetland, Orkney, Scotland, Ireland and Greenland. The Norwegian Vikings also discovered Vinland, present-day America, long before Columbus. Think of the Vikings and it's not poetry, wood carving and storytelling that spring to mind, but colourful
PIUME PIUME || 251 307
THE
VALOUR images of horned helmets, berserkers, longships, Valhalla, the one-eyed god Odin and men dying sword in hand or drinking out of skulls. And it's true, the Vikings were pirates who came to plunder and kill, and they spread terror along Europe's coasts. But their reputation is not entirely fair: They were not just ruthless warriors, but also skilled traders, administrators and craftsmen in metal and * Product Details on Request wood, producing beautiful jewellery and artefacts that survive to this day. They were courageous, cunning and had a fatalistic outlook which made them natural risk takers. Viking raiding parties seem to have had an amazing ability to shrug off losses, whether in battle or in dangerous sea voyages. Many men were lost in battles in continental Europe, and in 876, the Vikings lost as many as 4,000 men and 120 ships in a great storm off the south English coast. There was also much infighting between Danish and Norwegian Viking bands, especially in Ireland, where losses were extremely high in relation to the Viking population. Despite all of this, their appetite for conquest and exploration remained high.
PIUME PIUME || 308 252
ODIN Odin (Old Norse inn) is a God and ruler of Asgard in Norse mythology. Odin is the most powerful God in Asgard and he lives in the house called Valaskialf. In this house Odin has a tall tower and in the top of the tower he has a throne called Hlidskialf, from here Odin can see throughout all the nine worlds.
PIUME PIUME || 253 309
* Product Details on Request
THE NORSE
GODS
Odin is associated with healing, death, royalty, wisdom, battle, sorcery, poetry, and the runic alphabet, but also the day 'Wednesday' is known as Odin's day and he is thought to be "the leader of souls". Odin looks like a sorcerer, and may have been an inspiration to Gandalf from J.R.R Tolkien's books Lord of the Ring and the Hobbit. Odin is able to shapeshift just like Loki, into any animal shapes at will. Odin mostly speaks in phrases and riddles, and Odin's voice is so soft that all who hear him speak think all he says is true. Odin can also just say a single word and blow out the flames of a fire, or tone down waves of the sea.
AND MYTHS
SLEIPNIR Sleipnir (Old Norse 'Slippy' or 'The Sliding One') is a gray eight legged horse, this horse is a magical horse, and the most beautiful of all horses. Sleipnir is the symbol of the wind, and has the marks of hell upon it. Sleipnir can just as easily gallop through the air as on land. Sleipnir was born by the God Loki when he
and Fjörgyn. Thor is associated with the day thursday which is named after him. He has red hair and a beard, and is also known to be very ill tempered. He is associated with thunder, lightning, storms, oak trees and strength, Thor is the strongest of all the Gods and the protector of mankind in Midgard. While Thor is the strongest of the Gods, he is not the smartest or the most wise of the Gods, and many giants tease or fool him as much as they can. When the giants make fun of him it makes him furious, and when Thor grabs his hammer Mjölnir while enraged, it makes loud noises with sparks and lightning. This makes the giants crumble in fear and sends chills down their spines. Thor loves to fight the giants, and with his hammer Mjölnir, his powerbelt Megingjörð and his iron gloves Járngreipr, he always has the upper hand.
* Product Details on Request
shape-shifted into a mare and used the stallion of the giant builder to become pregnant. Sleipnir was later on given to Odin as a gift from Loki.
One day Thor discovered that his hammer was missing, and Loki found that the Giant Thrym had stolen it. Thrym wanted to marry Freya in return for the hammer, but the goddess Freya loathed the idea. So it was decided that Thor would go to Thrym's hall disguised as Freya. Thor took Loki with him. Thrym was astonished at how much
THOR Thor (In Old Norse Þórr) is the almighty God of thunder in Norse mythology, he is the son of Odin PIUME PIUME || 310 254
SAILORS
EXPERT
* Product Details on Request
PIUME | 311 255
the bride ate and drank, but Loki told him "she" had not eaten or drunk for nine days in her anxiousness to join the Giants. Thrym then went to kiss his bride and was amazed that she had a red complexion and eyes that flashed fire. Again Loki explained she was feverish from lack of sleep in her joy at joining Thrym. In a hurry to get the marriage over with, Thrym ordered that the hammer be placed on the bride's knees according to custom. Thor laughted in his heart, and having regained his hammer he struck all the Giants in the hall dead.
* Product Details on Request
that in the case of the bigger vessels with crews of 70 men, to keep them going for a sailing season lasting four months would require the surplus from 460 farms. But not all Viking boats and ships were meant for sailing across the open ocean. Some Vikings used their vessels to sail up the mighty rivers in Russia and beyond. This would take them to the mysterious lands in the East, where they could find riches beyond their wildest dreams.
For centuries the secret of Viking success was their ships. To sail in them was to be a Viking. The Vikings built fast ships for raiding and war. These ships were 'dragon-ships' or 'longships'. They were built from shaped, wooden planks held together with iron rivets and wooden frames. Any gaps were sealed with animal hair to make them waterproof. These ships meant they could sail all round Scandinavia, and then on to Ireland, England and Scotland, transporting people, animals, weapons and tools. It's been estimated
PIUME PIUME || 312 256
DEAD
THE
A dead person was buried or cremated (burned) with some of their belongings, to take into the next world. Some Viking chiefs were given ship-burials, with treasure, weapons, and favourite dogs and horses buried with them. Vikings believed that a warrior killed in battle went to Valhalla, a great hall where dead heroes feasted at long tables. Odin sent his warrior-maidens, the Valkyries, riding through the skies to bring dead warriors to Valhalla. * Product Details on Request
PIUME PIUME || 257 313
AN
WHAT THE VIKINGS LEFT BEHIND...
VALHALLA
* Product Details on Request
Archaeologists find the remains of Viking houses, burial sites, treasure hoards, carvings on stones, and writing carved in runes. Vikings left their mark on Britain in other ways too, such as language, Lots of familiar English words originally came from the Vikings' Norse language. Examples are 'husband', 'egg', 'law' and 'knife'. Place names show where Vikings once lived. A place with a name ending in -by, -thorpe or -ay was almost certainly settled by Vikings. The Vikings also left behind many stories about real people, called 'sagas'. Scotland has its own saga from the Viking Age, called 'Orkneyinga Saga' or 'The History of the Earls of Orkney'.
The Vikings have earned their place in history as a seafaring warrior culture with a fine eye for design and a good ear for storytelling.
ND
PIUME PIUME || 314 258
PU I
UME Features
Sweet boredom Our fear of boredom is making us dull. To escape existential weariness, we might need to learn to embrace moments of micro-dullness and rediscover the lost art of daydreaming.
O
ce upon a time there was no such thing as boredom. Before the mid-19th century, nothing was boring and no one was bored. Ever. At least not in those terms. The word “boredom” was introduced into the English language only in those early decades of the Second Industrial Revolution. Life was obviously monotonous back then, too - imagine 14 hours of farm work per day, or endless tea-drinking with your socialite cousins - but monotony was then considered a normal part of life. The risk of tedium really became an issue around the 1950s, when psychologists diagnosed boredom as an emotional condition that had to be cured with stimulation. Once we found a word for it, no one wanted it. Not until now. These are among the intriguing details shared by professors Susan J. Matt and Luke Fernandez, who trace the history of American emotions in their profoundly non-boring book Bored, Angry, Lonely, Stupid: Changing Feelings about Technology, from the Telegraph to Twitter (Harvard University Press, 2019). Today, boredum is trending, Magzines are quoting Friedrich Nietzche and recent psychological research, both of which deliver the same message: Boredom feeds creativity. Endless stimulation and phone-fiddling is an fact detrimental to our minds. If our eyes don’t get to stare at a wall/the sky/ the ocean every once in a while, our brain becomes dull. If you count all the good ideas you’ve ever had in the shower and compare them to the brainstorms you’ve had while fiddling on your phone, you’re likely to undersign Nietzche’s
theory. Fernandez and Matt, for their part, suggest that people these days feel bored quite often, but it’s not the kind of old-school boredom that makes our thoughts and time fly. It’s something worse. “Work is getting more repetitive. In the early 20th century, it was the assembly line workers who felt bored ar work. These days, white-collar workers are struggling as well, so they bring entertainment to work to make it more tolerable,” Fernandez summarises. It seems that we are bored and entertained at the same time - an oxymoron not so long ago. Or was it? Fernandez and Matt quote research from the 1950s stating that people reportedly felt bored while watching TV, the go-to entertainment of that era. Based on the research conducted by Fernandez and Matt, people are less willing to feel bored these days. A century ago, boredom was felt but not feared. It was only after people started to long for a new kind of emotional fulfilment that boredom became something to avoid. “Today it (emotional fulfilment) means never being lonely, always being engaged and affirmed by others,” they write. Our lives these days are a constant struggle to find emotional fulfilment. In that struggle, we have accepted that we need to working, developing ourselves, and interacting constantly. If we’re not, that means that we haven’t been able to land a demanding job, a lively circle of friends, a family or a hot date. If we have a moment of idle time, placing ourselves at risk of potential boredom, something
“In our attempt to dispel moments of micro-boredom, we develop existential boredom.”
must be wrong with us. We keep ourselves busy instead. “Some scholars differentiate between socalled micro-boredom and existential boredom. Paradoxically, in our constant attempt to dispel moments of micro-boredom, we develop existential boredom,” Ferandez says. This sounds like a daunting prospect. Something must be done about it! As we are living in the self-help era, here’s how: Once the problem has been identified, we ask for advice from an expert and try it at home.
DREAM OR NIGHTMARE? On this occasion, let’s ask a French author, Anais Vanel plunged head-first into moments of socalled idle time. Her autobiographical novel, Tout quitter (Flammarion, 2019), means “leave it all behind” in French. And that’s exactly what Vanel did in 2017. She quit her job in a Parisian publishing house, left her Haussmannian apartment, the parties, the terraces, and most of her belongings, and moved to a small town on the southeat coast of France known for its pine trees, surf and sandy beaches. She knew no one there. “I wanted to cut off all that was keeping me busy to see what emerges from the silence. I needed to discover who I am without my job, friends, and city life,” she says. In her book, Vanel describes her transformation in brief, powerfully dense sentences. “I have a thousand and one shades of blue.
Fire. I have sunsets over the ocean, Medusas, Weevers, Octopuses. I have time. I have long afternoons for exploring. long mornings for introspection. I have a board. I have waves.” What Vanel had was plenty of time on her hands, and not many premediated plans to fill it. She lived both the modern dream(the surfboard, the novel that came out of it), and the modern nightmare (nothing to distract you from your own thoughts). “I spent time alone to truly feel my emotions. At first, it was peaceful, but it changed soon. When you have time, you inevitably face all the wounds inside you,” Vanel says. Vanel, for her part, put some of that pain in her book, right next to celebrating the everyday pleasures of listening to beach sounds, sitting on a bench, chopping vegetables, and taking a nap. The story has a day-dreamy structure, interlinking observations about the past and the present. “As an adult, you feel the need to fill up your time. You schedule your work and plan your free time. I searched for a different rhythm and now I am present wherever I am,” writes Vanel. Maybe it’s ultimately not boredom that feels personal creativity. Maybe it’s the ability to live in the moment and let moments take shape as they will - even if it’s not always pleasant for us. Maybe all it takes is, every now and then, to be utterly and boringly stuck with our own daydreams and nightmares. “Idle moments can be as meaningful as full moments,” professor Matt points out, with the historical insight of someone who has closely studied 150 years of reverie.
THE OLD GUITARIST (1903 - 1904)
- Pablo Picasso
“
“
God is really only another artist. He invented the giraffe, the elephant and the cat. He has no real style. He just goes on trying other things
Step inside the spiritual home of the famous Lego brick in the adventure town of Billund in Denmark.
W
Lego House in Billund resembles 21 white Lego bricks.
hat Lego fan wouldn't want Stuart Harris's job? As senior experience designer at Lego House, just down the road from Legoland in Billund, he's the brains behind the brick, supervising the addition of elements and liaising with Lego-lovers around the globe. They like to talk about appealing to "children of all ages" in this themed Danish town, and Harris is an enthusiastic example of some of the more senior children. Lego House, opened in 2017, and Legoland are distinct entities, both feed off and nurture the global affection for this most practical and expressive of play brands. Lego House was the brainchild of Kjeld Kirk Kristiansen, chairman of the Lego Group and member of the same Kirk Kristiansen family that founded the company here in 1932. The history collection in the basement of Lego House, added in response to fan community wishes, related how the company made wooden toys until the famous brick with its interlocking tubes was developed in 1958. The name derives from an abbreviation of "play well" in Danish - leg godt - and appropriately, "lego" means "I put together" in Latin. Billund's Legoland, the original of eight around the world and several Lego Discovery Centres, was conceived in the 1960s to demonstrate the versatility of the Lego House - the Home of the Brick. Designed to resemble an assembly of 21 white Lego bricks from outside, the interior focuses on a vast central "Tree of Creativity," a metaphor for the company's heritage. This
Senior experience designer Stuart Harris: "We wanted something very hands-on."
creation is one of the biggest Lego builds ever, made from 6.3 million bricks, weighing over 20 tonnes and measuring 15.6 metres tall. PLAY IS A SERIOUS MATTER
The name lego derives from an abbreviation in Danish of "play well" leg godt
For Lego, play is a serious matter. "Kjeld had the dream for many years of an experience centre to help understand something that is very important to Lego, and that is 'learning through play'," says Harris. "He and his son Thomas (the next family member to move into the group leadership role) are very passionate about this. Learning through play is one of our main ethoses and all the experiences are designed with this in mind. We wanted to get something very hands-on, where you could realise the brick's potential creativity. The 'generic' Lego brick is at the heart of the place," says Harris. It can be central to the way that a child learns to interact with the world and to prepare for the kind of creative thought that the modern world increasingly requires. For older devotees, building with the iconic blocks is an absorbing alternative to online pursuits and also a distinct art form. Harris's responsibilities include coming up with innovative ideas and to administer and maintain Lego House buils - devised by himself and by the legions of international fans of all ages.
Play hero Mathias Thorning: Helping to kickstart childhood memories.
A venure for fans, there is nothing else quite like Lego House anywhere in the world.
Below: Morten Gravgaard at work. Right: A Lego House play area.
order at Lego Gourmet, one selects tiny bricks of different colours and sizes to represent Fundamental to the design of the House different items on the menu and inserts was the idea that it should be a venue for fans them into a table-top device. A digital screen to exhibit their work, and Harris is in charge whirs into action and shows animated Lego of sourcing and curating the fans' work. Every minifigure characters busy in the kitchen, September a "swap-over" is planned, timed chirping away in in "Lego-ese." When the order in connection with a major international fan is ready, two robots sort meals in colour-coded event in Denmark. brick boxes and deliver them to the canteen. Billund has evolved into "Lego central," And then there are the play areas that are and its facilities and infrastructure, including located all over the building, where children, its sizeable international airport, have young and not so young, can - literally - dive developed in response to Lego's presence, into oceans of Lego bricks and lose themselves not vice versa. Nearly all enterprises in this in creative experience. Four experience zones pleasant Danish rural town setting are linked are coded: red for creative skills, and yellow for in some way to Lego business and tourism. emotional skills. But was this the first choice for an ambitious, In case anybody is daunted by this creative venture like Lego House? sudden proliferation of Lego resources, blue "There were many discussions about shirted members of a team of Lego play agents where to build the House but it was decided are always on hand. These are led by ten that it would be loyal to the brand to have it play heroes, part of a 200-strong permanent here in Billund, not in New York or somewhere workforce. "Our day-today job is to assist the more commercially obvious," says Trine Nissen from sales and marketing. "It's only 200 metres from where everything started in 1932. you won't see anything like this anywhere else." LEGO LUNCH
The element of play is present all around Lego House, including its three resturants. To
Children can literally dive into oceans of Lego bricks at Lego House.
The House is clearly a hit with fans of all ages.
guests in returning to childhood memories with Lego bricks and to help them start creating," says play herp Mathias Throning. "We want to kick-start those childhood memories so that one, two or four hours later they want to show off what they've done - even the parents!" AFOLS ARE NO FOOLS
The House is clearly a hit with the public pre-booking is essential for all visits - but their affections also endure for the venue's cousin one kilometre up the road. Legoland, with its family friendly amusement park atmosphere, provides a different, more expansive experience. This is augmented by the original Legoland Hotel and a new arrival, the Lego Castle Hotel with its colourfully-
Building with Lego is an abserbing alternative to online pursuits.
themed wizard and knight wings, where Lego dragons perch in the corner of the rooms and cupboards contain surprises. The lines are forming outside the Legoland gates 30 minutes before they are due to open and model shop assistant Morten Gravgaard is doing some last-minute checks in Miniland, the enchantong miniature recreation of towns and cities that is probably the park's most famous attraction. Trained as a baker, he prefers to work with the legendary bricks. "My job is to repair, replace, and build new Lego models," says Gravgaard. Visitors are inspired to build by the models and creations they see in Legoland, he says. "There are plenty of adult fans of Lego - AFOLs - I know because I am one of them! It's a kind of therapy, building in Lego." Unlimited possibilities: It's an explanantion for Lego's magic expressed by many fans, including Morten Gravgaard. It's a magic that crosses borders, too. The best ideas are the simple ones, says Stuart Harris. "Lego holds together as if by glue - we call it clutch power - but you can always pull it apart. There is an element of under-rated sophistication about it, but it's also very egalitarian. You can give the same bricks to everyone and depending on their imagination, cultural refereneces, and background, they will create something different.
A giant dinosaur at Lego House - but this play material is far from extinct.
PU I
UME Feelberry
ABOUT US
0 1 / INSPIRING CONNECTIONS
WE BELIEVE IN CREATING MEANINGFUL CONNECTIONS BETWEEN PEOPLE AND BRANDS USING CREATIVITY, MEDIA AND INNOVATION Feelberry Limited is media and business consulting company with headquarters at Helsinki in Finland, Europe. We now have an Indian office in Pune. We have been designing and developing inventive & scalable branding solutions and business expansion strategies for Fortune 500 brands and acclaimed ventures worldwide. Rarely satisfied with being an echo of the normal, we continually propel ourselves beyond the traditional expectations. Driven by the passion that “best” can always be “bettered”, we have been catalysing innovations. Today’s brands compete with new technologies, empowered consumers, shifting public attitudes, brand new contenders and much more. Creating leading strategies and powerful ideas that allow our client’s brands to become unique, irreplaceable, in control and ahead is our purpose. In our network, we all share a common ambition: help our clients and their brands to be and remain the leaders they want to be.
PIUME PIUME || 334 278
OUR SERVICES
0 2 / BRAND BUILDING
OUR BRAND SOLUTIONS ARE BUILT FROM HUMAN INSIGHT AND CREATIVITY, AND ARE REVOLUTIONIZED BY THE POWER OF TECHNOLOGY. IT’S THE COLLISION OF THESE KEY INGREDIENTS IN ALL THAT WE DO THAT WE DO THAT FORTIFIES OUR BORDERLESS CREATIVE POTENTIAL . BUSINESS @ ASIA Our consultant network help companies in Scandinavia expand their business to Asian markets with minimum hassels, zero change and no worries.
DIGITAL EDITING The Web Marketing dynamics have changed. Email Marketing, Link Exchange and Banner Ad is from the Age of Dinosaurs. What works are solutions and engaging customer experiences.
MEDIA MANAGEMENT Realtime user and advertising reach analytics drive our media planning and buying. Welcome to measurable - tweakable internet media management.
WOMEN ENTREPRENEUR We bring our decades of experience to help Business Women make their startup ideas into sustainable business. We provide access to venture funds and also help in expansion plans to European countries.
EUROPEAN SETUP Complete end-to-end solution with office facilities to establish a company in Finland. We take care of all paperwork and documentations.
BRAND PERCEPTION 360 degree branding and consulting solutions for companies making it easy for them in Asia where visibility and brand value are very important.
INTERNET REPUTATION The agility to showcase, innovate and delight. Helping businesses worldwide to do more than just keep up, we are the crossroads of Business Intelligence, Art and Technology.
BRAND CONSULTING Meaningful moments create experiences, experiences influence branding perception, branding drives growth. We catalyse the chain. PIUME PIUME || 336 280
OUR CLIENTS
0 3 / WORLDWIDE CLIENTELE
EXPERIENCE IN DIVERSITY WE WORK WITH SOME OF THE WORLD’S MOST INNOVATIVE MARKETERS. CLIENTS WHO ALWAYS THINK LIKE CHALLENGERS. AND SO DO WE.
SCANDIC SWEDEN
MAX HEALTH CARE INDIA
PETRONAS
SWEDEN
MALAYSIA
ATLANTIS HOTEL BAHAMAS
OUR OFFICES www.feelberry.org
FINLAND HEADQUARTERS, HELSINKI
Itamerenkatu 5, 00180 Helsinki, Finland FINLAND OFFICE, PIRKANMAA
Tietotie 1, 37630 Valkeakoski, Finland INDIA OFFICE, PUNE
Koregaon Park Lane 7, Power Plaza 411001 Pune, India
PIUME Copyright © 2020 by Feelberry Limited All rights reserved. No part of this publication may be used or reproduced in any matter whatsoever without the written and signed consent of the Publisher.
ISSUE TWO
SUMMER 2020 MANAGING EDITOR Rukhma Rakshit
FOLLOW US
CONCEPT DIRECTOR Anirban Rakshit
piume.in/fb piume.in/tweet piume.in/insta
CONTRIBUTE TO PIUME antik@feelberry.org
ADVERTISING & FEATURES Aishwarya, tel. +91 9545872375 aishwarya@feelberry.org
© FEELBERRY 2020
INDEX A Flight Within Kashmiri Khosa
159
Doll within a Doll
An Infinite Quest Ravi Trivedy
219
Eventuate Rekha Goyal
263 98 233
Aadim Aparna Bidasaria
48
Aangan Gopal Pardeshi
149
Flight Arpita Bhattacharya
25
Abtruse Conundrum Nivedita Pande
89
Flight Arpita Bhattacharya
26
Anand Aparna Bidasaria
49
Flight Arpita Bhattacharya
30
Avant Garde Hues Komal Parmar
65
Flight of the Bird Rekha Goyal
94
A.V.Humboldt Avineer Rakshit
228
Flower Flight Komal Pardeshi
57
Bapu Conquers the World Ravi Trivedy
213
Flowing Equines - Emperors Neeraj Mittra 177
Belgium's Cat
292
Flowing Equines - The Flow.. Neeraj Mittra 179
60
Flowing Equines - The Rising.. Neeraj Mittra 180
Bird on Branch Komal Parmar
Ferrari 250GTO Avineer Rakshit
Blue Castle Villeroy & Boch
285
Focke Wulf 190 Avineer Rakshit
231
Boat of Life Kashmiri Khosa
170
Forging the Modern Man Ravi Trivedy
201
Frau Trude
272
Bride Arpita Bhattacharya Brick Me Up
31 321
Frenzy Blue Arpita Bhattacharya
20
Chilmana Aparna Bidasaria
51
Glimpse Amrish Malvankar
110
Colors of Life Gopal Pardeshi
148
Gossip Arpita Bhattacharya
27
70
Happiness Gopal Pardeshi
147
Connecting Deeply... Krupa Shah Creative Potrait C.D. Mistry
134
Hope Amrit Khurana
Creative Potrait 54 C.D. Mistry
130
Horses C.D. Mistry
135
Czar - The Gallop... Neeraj Mittra
175
Imprints of the Past Kashmiri Khosa
172
Dala Horse
299
Isaac Newton... Ravi Trivedy
208
Devil's Workshop Aditya Dev
118
Journey Arpita Bhattacharya
24
Divine Komal Pardeshi Divine Love Neeraj Gupta
62 191
36
Journey in Process Aditya Dev
124
Lamp Gopal Pardeshi
151
Laugh Amrit Khurana
39
Time Rekha Goyal
97
Life of my Life Neeraj Gupta
194
The Blossoming Stone Neeraj Gupta
195
McLaren F1 Avineer Rakshit
229
The Color of Our Nature Krupa Shah
73
Memories Amrit Khurana
37
The Energy Vibration Krupa Shah
71
Memories Amrit Khurana
38
The Memory of Water Rekha Goyal
99 95
Mindscape/Suspense Kashmiri Khosa
165
The Mood of Water Rekha Goyal
Morning Light Gopal Pardeshi
146
The Räuchermann of the Ore Mountain
273
Mountains of the Mind Kashmiri Khosa
161
The Temptation... Ravi Trivedy
211
Napolean Guides... Ravi Trivedy
209
The Untold Tale Aditya Dev
119
Northrop 5E Tiger II Avineer Rakshit
235
The Vikings, The Valour and The Valhalla
308
Pharaoh - Contoured... Neeraj Mitra
181
The War was won... Ravi Trivedy
215
Pharaoh - Reflections... Neeraj Mitra
182
Thought Waves Kashmiri Khosa
166
Towards Unknown Kashmiri Khosa
158
Pratiksha Arpita Bhattacharya
28
Remnant Amrish Malvankar
112
Transcendence Kashmiri Khosa
163
Restropection Komal Parmar
63
Transmutation Kashmiri Khosa
156
Rishi Aparna Bidasaria
53
Tulsi Arpita Bhattacharya
23
Royal Tudor Ware
304
Ulm Ceramics
282
Seller of Dreams Ravi Trivedy
218
Untitled Aditya Dev
122
Serenity 05 Amrish Malvankar
106
Untitled Aditya Dev
125
Serenity 06 Amrish Malvankar
105
Vespa Romance Amrit Khurana
41
Shakti Arpita Bhattacharya
22
We Rise on the Shoulder... Neeraj Gupta 201
Solitude Nivedita Pande
81
Who Gets The Chair!!! Nivedita Pande
Speak Sweet C.D. Mistry
132
Speak Sweet 27 C.D. Mistry
142
Stallion Speak Neeraj Mittra
187
Sweet Boredom
317
Synthesis Amrish Malvankar
108
Synthesis Amrish Malvankar
113
Taral Aparna Bidasaria
52
84
“
A BEAUTIFUL BODY PERISHES, BUT A WORK OF ART DIES NOT
“
- LEONARDO DA VINCI
HEAD OF A WOMAN (1500 - 10)
We feel art plays an important role in the journey of self discovery. Piume (Plumage) is a publication dedicated to exploring the intersection of various artists, their art and culture from around the world.
FEELBERRY
ANTIK FINLAND / INDIA www.antik.asia
Piume