THE FLAMES OF CREATION SEEMA KOHLI
THE FLAMES OF CREATION SEEMA KOHLI 21st APRIL - 31st MAY 2017
Curator’s Note
The creation of anything new –
home as well as prisons. Now
manner in which the male and
use of the formal academic
referencing on guidance, resolution
moon are both important, so are
its birth, or rebirth – is a difficult
imagine her yoginis, the female
the female are counterpoised, as
system, joining classes first as
and solution. Nor is that a mere
air and water, and so must human
process, whether real or imagined.
deities that sit cross-legged, deep in
equals – but the freedom extended
part of a three-year programme
placebo. There is nothing the world
ambition and its goals, which are
Life, vegetation, a dance
thought, p owerful yet serene, their
to her yogini is never the same
in graphic design at the South
needs today more than listening
only as achievable as our ability to
performance, a string of musical
strength evident in their composure.
as the yogi, for a woman is a
Delhi Polytechnic, and, later,
to multiple voices and finding
learn and absorb.
notes strung together to hold a
Hair rolling down their backs as
creator (while a man will always
under the guidance of that
a worthy point of view amidst
melody, a writer’s words; a rising
the lushness of nature’s glories
be a destroyer), both connected,
great artist-teacher, Rameshwar
the babble and cacophony, the
Kishore Singh
dawn, a tempest at sea, surging
surround them, the umbilical cords
sometimes through a fragile web,
Broota, at Triveni. Circumstances
sanity of the seer lost to us in a
waters, the whistling wind when it
of lotuses tethering them not just in
at other times through a robust
dictated her need as well as
crowd. Basic human needs tend
Curator, Art Writer and Friend of Artist
blows fiercely; calm, meditation,
the present but unifying them over
cohabited relationship, dependent
passion to paint professionally,
to be the same. In shutting doors
analysis, looking inwards,
history and mythology, stretching
and inter-dependent, but one
and she became active on the art
on dialogue, in placing barriers
tranquillity…
all the way back to when the
incomplete without the other. This
scene in New Delhi fairly early,
instead of opening doors, we turn
universe was young at its genesis,
aspect of harmony, or balance –
despite the constraints of a young
insular instead of worldly. This
If that is a metaphor for the
harnessing its energies, recalling
of energies, but also of images,
marriage and its accruing societal
is what makes the lived world a
universe and for human life,
a time when nurturing was an
of colours – directs her work and
pressures. Collectors ascribed to her
calamitous nightmare. We are
consider, for a moment, Seema
inclusive term as earths and worlds
completes it. It is both her belief
philosophy of life even as it kept
increasingly driven towards goals
Kohli’s work: lotus buds and
were created from a void.
as well as organic philosophy that
evolving, including in her liberal
that are selfish, caring only for that
lies at the interstices of her work.
choice of mediums.
which affects only us personally,
blooms; flowering trees; the permanence of roots, the fragility
I see Seema’s work in constant
Seema is both the sum of her
While a perfect universe may never
forgetting the lessons that nature
yet strength of branches, the
dialogue over different periods of
experiences as well as her work.
exist – indeed, the many parables
teaches us through its very act of
passing of seasons in its leaves; of
life on the planet, almost never in
of our civilisational roots would be
being and existence: that we are
female beings that soar on wings,
conflict, though she lays out these
She makes an interesting case of
in discord were it to occur – her
co-depen-dent, that without one
taking flight, at once terrestrial,
inherent the contradictions and
an artist who is both self-taught
work does offer us a panacea
and the other, we are neither, or
aerial, arboreal; of cities that are
anomalies, best exemplified in the
as well as liberated through the
to the ills of society through a
nothing. Just as the sun and the
Krishna Krishna, 2x6 ft, acrylic and ink on canvas with 24kt gold and silver leaf
Paintings Bhagwat Geeta series , 36x48 in, acrylic and ink on canvas with 24kt gold and silver leaf
Indian artists have been inspired to
these details to play out as an
follow her own heart and career, a
else, the presence of a number of
this change. There are other,
planet she bestows so frequently
paint the philosophical equivalent
independent panoply. The city
move encouraged by her mother,
chronometers to tell time. She has
familiar tropes the artist uses, that
on her female protagonist, who
of the Ardhanariswara for as long
now forms the upper plane of the
but which also left a gap, an
used clocks earlier, watches even,
serve her well. In one, a woman
rivets you with the many tapestries
as painting and sculpture have
painting, its windows and doors
aching wound, that she sums up
to mark the passage of time, but
braids
that weave across her body like so
existed in the subcontinent.
dark and unlit, while overhead,
by way of so many bags, so many
only occasionally. Here, in a dark
owers into her hair. She sets up an
many allegories of lives lived, of
The temples with the magnificent
aircraft weave amidst her celestial,
dresses on so many mannequins,
work, one is struck by the strength
alter-ego for herself too, where one
experience, of understanding and
plethora of sculptures are evidence
air-borne beings. Trees and waves
the sum of them
of her lines as a young woman with
female gure seems
acceptance. There is the myth and
of this manifestation of Siva and
form a girdle below the city,
thrust into a hastily lled bag with
streaming
free to range the world she has
science of the creation of earth
Parvati, the merging of male and
separating it from the fires that
the debris of our daily existence –
hair rushes across the painting,
created, while the other – under
and its many creatures escaping
female principles and energies,
rage underground – a metaphor
clothes, a hanger, and dominating
her hands outstretched. A little
considerations of social
from the sea to rule the land and
the abstract construction of which
of our earth? The six-armed being
the painting, a shirt suspended
tableau just above one hand
proprietary, for instance – is
the skies. But these are personal
has resulted in the philosophy of
that holds up a planet, therefore,
from its hanger, awaiting its
marks this woman’s journey from
framed and set up on a tethered
journeys too, and here the gure is
tantra. Seema Kohli interprets
challenges us: Sun? Earth? A
wearer. Will its owner come back to
a vulnerable toddler to a condent
pedestal. Is one freer than the
like Draupadi, her body protected
this familiar rendition – often
golden moon? That knowledge is
claim it, or will it forever remain as
woman. At another time, I might
other? That is more dicult to tell.
from the male gaze by layers and
represented as two half bodies of
denied us; maybe we don’t need to
a reminder of someone who could
have paralleled it to Seema’s own
Works here
bands, but whose vulnerability, like
the female and the male conjoined
know either because, if all nature is
claim it back? Is this the sum of our
journey, but here I am tempted
include those from her Golden
that of earth’s, lies in rapacious
along a central line, as a yogic
part of a system governed by the
lives? The nurturing and caring, the
to see in it the blossoming and
Womb series, but more recent
hands, to be destroyed at whim.
balancing of the chakras, the
universe, what is that realisation
waiting and anxieties, all melting
moving away, again, of her
works include four vertical
energy spirals of our spine, with
worth, anyway?
into a
beloved elder child, leaving the
panels in vastly dierent sizes
loss that cannot be explained. It
warmth of the womb that
that draw attention – one for its
the male body reminiscent of the night, the female that of the sun,
The most significant work in this
is a crisp biography, but one also
cherished her to navigate her own
distinctive use of red
almost an inversion of the popular
exhibition is Sarva Khalvitam
that is maudlin, a person’s
way through life. The panel on
through which she cleaves a
cliché, as it were, with the moon
Maya, the illusion of omniscience,
intimacy wrapped up in discarded
the left marks this transition,each
golden shaft like a ray at dawn;
representing masculinity, the sun
who comes riding on a
camisoles and hangers and wilted
panel reiterating the fact that
another in which the face in the
femininity (Rising of Kundalini).
magnificently maned lion that
blossoms waiting to be picked up
this is not something unique, that
centre is like an earth goddess,
Surrounding the merged figures
she has tamed, just as one might
and smelled by the one person
such transitions have been part of
both the
of the two outside the umbra of
attempt to tame nature – only
who kept vigil those many years,
the human journey as they seek
branches as well as the roots of the
lotus blooms is a night sky with
partially realised because you can
and who nds herself
all that life – and a partner – oer
tradition of passing on the legacy
its constellations of stars and
never change the course of things.
unable to deal with this absence.
away from
of nature; in one that reverses the
zodiac symbols borrowed from
Here, it would be best to quote
How do you explain so much
the sacred space of a place once
colour palette, it is as if the woman
Western mythology, while over an
Seema herself, in verse:
love? How do you gather it to your
called home.Similar horological
commands the learning of
urbanscape winged beings herald
To me, perhaps the most poignant
bosom? How do you hold on to it
ways of telling time and planetary
millennia, our languages and
the sun.
painting in this collection is one
when, like air, or water, it must free
movements, watches and
cultures culminating within her
that speaks of absences. Seema’s
itself and ow away, leaving only a
almanacs, appear in another
singular being; but it is the last one
In another painting, the artist
daughter moved out of her home
sense of its lingering touch.
painting that seem to point
with a four-armed gure holding up
seems to have extracted just
recently, to lead her own life and
For the rst time I notice something
to Seema’s coming to terms with
the familiar
Bhagwatgeeta, chapter 6 verse18, 36x48 in, mix media on canvas with 24 kt gold and silver leaf, 2015 The Golden Womb series, 24x24 in,, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 18x36 in, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 18x36 in, acrylic and ink on canvas with 24kt gold and silver leaf
Sarva khalvitam Maya, 48x48 in, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 24x24 in, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 3ft dia, mix media on canvas with 24 kt gold and silver leaf, 2015
The Golden Womb series, 3ft dia, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 20x48 in, acrylic and ink on canvas with 24kt gold and silver leaf
I am everywhere Everything is in my womb I expand in every thought Every time I contract The expansion is volcanic Every time you believe I am not I create a miracle You all come from one single womb Share the same single space How can you despair that I ride the mind Holding the reins by its hair I am a celebration
The Golden Womb series, 36x48 in, acrylic and ink on canvas with 24kt gold and silver leaf
Bhagwatgeeta series, 36x48 in, mix media on canvas with 24kt gold and silver leaf, 2015
The Golden Womb series, 60x70 in, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 5x3, acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 24 in Dia, Mix media on canvas with 24 kt gold and silver leaf
The Golden Womb series, 24 in Dia, Mix media on canvas with 24 kt gold and silver leaf
The Golden Womb series, 24x27i n,acrylic and ink on canvas with 24kt gold and silver leaf
The Golden Womb series, 65x14x3 in, acrylic on wooden door with 24kt gold and silver leaf
The Golden Womb series, 24x36 in, acrylic and ink on canvas with 24kt gold and silver leaf Bhagwatgeeta, Chapter 2, Verse 22, 36x48 in, acrylic and ink on canvas with 24kt gold and silver leaf
Etchings Conversations, 13x20.5 in, etching on paper
What few people know of this
own life. But she returns to the
both protagonist as well as the
versatile artist is her ability to
sacred and mythological in her
subject of her work, the evidence
switch mediums with great felicity.
Come Play With Me series in which
of her transformations captured as
A trained printmaker, Seema
an avenging Kali conquers demons
prints on canvas. In a series that
enjoys printmaking almost as much
– but the evil is not merely that of
speaks of the monumentality of
as painting, and has expended
fables but a reection of society
life with its universality of vision,
considerable energy making
around us, forcing the woman to
the series has the capacity to
etchings from which she has drawn
adapt to the role of an avenging
astound and overwhelm as well
limited edition prints, prime
angel to get on with her own life.
as invite discussions around these
among which are her collection of
Wirend |Etching (Edition 1/10)|19.6
latent energies that make up the
Chausat (or sixty-four) Yoginis, her
x 39.3 in|2013].
world as we know it. Created in a
ode to the healing, nurturing
limited edition, these are among
and potent inner power of
Also included in this section is
the artist’s most intimate, personal
women, an inner strength that is
a small selection of aordable
works and are marked as much by
not merely the gift of goddesses
serigraphs that consist of her
their vulnerability as by their power
acquired through practicing
familiar body of work, instantly
of suggestion that the universe we
austerities and penance, but which
recognisable, making it easier for
seek lies within all of us.
is the gift of every woman who
her legion of fans to take home a
chooses to channel that energy.
signed print from the collection.
Perhaps that has been Seema’s
An incredible body of work and a
Finally, of course, there is her
message throughout her practice,
worthy collectible, Seema has not
Oroborous series, a mediation
in all her work. It is a simple truth,
limited her etchings to the sacred
on mortality and life and death.
but its visual manifestation has
In Conversations, she creates a
This cosmic wheel of life, in which
absorbed her creative energies
teapot, some books and a ight of
nature creates, destroys and
and contributed to the vitality of
winged women as her alter-egos.
recreates, has always fascinated
contemporary Indian art.
In Power Games, she shows the
the artist, and she has done a
hierarchical position women
number of performances on this
inhabit within the four walls of their
concept, performing for video,
homes, where at least their writ is
yielding to sensory experiences of
pervasive, creating a social
near-death, and of reclaiming
dialogue within a patriarchal
life; getting herself photographed
society in which water and
in these intensely personal
electricity, their arrival and capture,
transformations (and
dominate their daily lives. In the
transmutations) – at once
delightful Wizard of Oz, the
agonising and exhilarating. Played
woman is the enchantress of her
out as enactments, Seema here is
Wizard of Oz, on paper etching, 50x100 cms, 2014
Come Play with Me , 13x20.5 in, etching on paper
Riding the Mind, 13x20.5 in, print etching
Chaust yogini (with black frame), 156x96 in (each print 13 in with frame)
Chausat (or sixty-four) Yoginis, her ode to the healing, nurturing and potent inner power of women, an inner strength that is not merely the gift of goddesses acquired through practicing austerities and penance, but which is the gift of every woman who chooses to channel that energy.
C1373, Power Games, 50x100 cms, etching on paper, 2014
Vishwaroopa, 31x40 in, serigraph on archies paper
Serigraphs Rising of Kundalini, 31x40 in, serigraph on arcies paper, 1186
Yogini, 10x10 in, serigraph on archies paper
Narshimi , 10x10 in, serigraph on archies paper
Sculptures C1825, 24x16x17 in, medium, acrylic on fiber glass
A successful transition Seema has made is to the plastic modulation of sculptures, something several painters have attempted, but with somewhat less serious intent than her. The journey began with her staging the painted female gure – her familiar protagonist – to bronze such that it seemed also to reach out to her to render her female beings with their tresses, wanting the layers of their garments, the winged creatures across their torsos, to be made tactile. In a way, this was Seema intensifying her layering so that she could see the result of the many layers she painted on canvas transfer into a more physical medium where its surface would seem as much an extension of her work as of nature itself . In the intervening years, she has varied her range from very large to smaller bronzes, taking on the form of the titular deities or female beings as protagonists who hold on to her need to create an aesthetic form within which she wrests nature and the universe, both centering it as well as using it as a metaphor. The free-owing form of the sculpture has also been a challenge since it needs to be stabilised along with an anatomical consistency that has not been easy to achieve. The body is heavily worked upon – vines and wreaths, winged beings and lotus blossoms, as well as an interplay with positive and negative spaces that create solids and voids, often playfully together, reaching into her interplay of darkness and light, night and day, and the contradictory harmony of male and female within the necessity of their natural existence. In more recent times, she has chosen the gure of the cow-bull hybrid, the Kamadhenu, to paint, creating a number of breglass sculptures that she then paints over in her signature style, combining gold foil with the sum of her work of the past decades. It is her paintings worn like a mantle across the Kamadhenu’s body – here manifesting its contradictions through combining the hump and the udders in the same sculpture – the trees with their branches and roots, the multiple, manifold leaves forming a canopy under which winged creatures y free, or meditate. In this magical place, the Kamadhenus’ eyes, in particular, establish their personality – wise, thoughtful, irtatious, playful, astonished… In some, she brings in the realm of Shiva and Parvati, the Shiva-Shakti of Shaivism that keeps the world on even keel. There is the ute-wielding shepherd too, for where would the cows be without Krishna to herd them?
Kamadhenu series, 24x16x17 inches, (medium) Acrylic on fiber glass
The gods are encapsulated too in the panels of a goldfoiled wooden door, each of them recounting a parable or vignette from mythology – Krishna with his peacock feather, Shiva and Parvati getting married, now with Ganesh completing their family, Rama with his bow, a meditating Buddha, the avatars of Vishnu completing the circle of genesis and the evolution of man and earth. It is a work of incredible heft and liveliness, and Seema revels in its visual language.
Kamadhenu series, 10x17x12 in,( small four leg) , acrylic on fiber glass
Nandini- Shiv Shakti 56x42x11 in, (Big), acrylic on fiber with 24kt gold leaf
Kamdhenu series, 56x42x11 in, (BIG) acrylic on fiber with 24kt gold leaf
Kamadhenu series, 13x17x5 in, medium, acrylic on fiber glass
Kamadhenu series, 13x17x5 in, acrylic on fiber glass
Varahi,Bronze,17 x 17 x 9 inches,2013z
Vaishnavi, Bronze, 18.5x17x10 in, 2013
Mahisasurmardini,Bronze, 18.5x17x10 in, 2013
Triguna Devi, 48x36x36 in, medium, mix media on canvas, plywood, fiberglass with 24kt gold and silver leaf
Sculptural Painting
One must perforce read Seema’s sculpture paintings
If the need was to create something that is tactile, Seema
within the discourse of her practice that has used several
has more than succeeded. She places an intruded gure
mediums, sculpture quite prominently among them over
(or gures) as a part of completing her myth-making, a
the last few years, along with her need to experiment. And
part of the painting – but is it essential to it? Perhaps her
there is no doubt that as a new form of investigation into
compulsion was to create a more complex layering, almost
her practice, they are at least compelling, if not yet entirely
like a diorama, but the result is twofold. If on the one hand
organic. What is one to make of this merging that has
it robs the sculpted part of its individuality, it also renders
resulted in lending a third dimension to what has usually
the painting as mere background, withdrawing from her
been a two-dimensional exercise?
substantial oeuvre in the genre.
Desire series, 10x12 inch , Acrylic and ink on canvas with 24kt gold and silver leaf, fiber glass(sculpture 7x5x5 inch)
Yogini series, 24x24x12 in, sculpture with tounge- (18x7x7 inches)acrylic and ink on canvas with 24kt gold and silver leaf on plyboard
Derire series, 10x12 inch , Acrylic and ink on canvas with 24kt gold and silver leaf, fiber glass(sculpture 7x5x5 inch)
Desire series, 10x12 inch , Acrylic and ink on canvas with 24kt gold and silver leaf, fiber glass(sculpture 7x5x5 inch)
1384a, 2x2 in, acrylic and ink on canvas with 24kt gold and silver leaf, fiber glass, sculpture 24x24x15in
Desire series, 10x12 in , acrylic and ink on canvas with 24kt gold and silver leaf, fiber glass (sculpture 7x5x5 inch)
The Unending Dance of Light: Raks e Shams
Film
CONCEPT, DIRECTION SCRIPT CINEMATOGRAPHY
: SEEMA KOHLI
: MARLENE POPOVIC &
SAKTHI BHAGAT SOUND
: SAHIL VASUDEVA
DURATION COPYRIGHT
: 50MIN
: SEEMA KOHLI 2014
“Yajnavalkya,” Arthabhaga said again, “tell me – when a man has died, and his speech disappears into re, his breath into the wind, his sight into the sun, his mind into the moon, his hearing into the quarters, his physical body into the earth, his soul (atman) into space, the hair of his body into trees, and his blood and semen into water – then what happens to that person?” - Brihadaranyaka Upanishad, 6th Century BCE.
The stimulus for The Unending Dance of Light was the idea of Benares or Varanasi or Kashi – the sacred city of light where so many come on pilgrimage or at the end their lives. It is said that to be cremated on the banks of the holy River Ganges takes you not to another birth but to liberation, mosksha, freedom from the cycle of birth and death. Corpses shrouded in cloth are borne on bamboo biers through the narrow streets of the city, hastening to the burning ghats where cremation happens around the clock. Seema experiences this as a “vortex” of energy, a place where the “dance of rejuvenation” is happening in quick time and quite “nakedly”. Thomas J Hopkins writes that “Death is as close to being universal as anything we know.” And “almost as soon as we have evidence of human culture… we have evidence of belief in some kind of afterlife… a sustained assumption that death is not the end of personal existence.”
Seema has been investigating the beliefs and death rituals of many dierent cultures. For her, emphatically, death is not “the end”. Even if you look at it purely scientically – our bodies at death are recycled into elements, if buried they return to the earth, if burned to the air – there is a kind of continuity even if it is not one of “soul”. For the “The Unending Dance of Light” video Seema performed on Varanasi’s “far shore” – the sandy eastern banks of the river across from the burning ghat of Manikarnika. The far shore provides a striking contrast to the city: devoid of buildings and people, dogs roam and birds circle in the skies above. The beauty and mayhem of the city is a cinematic backdrop across the water.
Seema’s performances are unrehearsed and unscripted. After research she simply puts herself in her chosen space sees what comes: giving herself up to a spontaneous interaction with the environment and the energies she perceives there. In Parikrama she ran around the yogini temple at Bheraghat in a half trance; in the Unending Dance of Light her performance is slower, more meditative. She uses props such as the rope from the boat to represent our binding desires, and then it becomes an umbilical cord connecting all beings with the super consciousness. (The umbilical cord in her paintings is often the lotus stem.) She draws a yoni in the sand and curls up imagining the coming together of soul and body in the womb. She chances upon a small sapling and plants it in the dry sand. She rolls into and buries herself in a grave, which is also for her a womb. And at the climax of the lm in the darkness against the burning res of Manikarnika she lights her own pyre and strikes more than 100 clay pots with a bamboo rod.
“We see death as a full stop. But it is not. The energy does not stop owing at that point. It recoups, reforms, and moves on. Death is not the end, it is energy changing direction, coursing on again in a different form and space.�
Seema Kohli Myth and fable apart, Seema Kohli’s canvases are layered with many, many stories rooted as much in philosophy as in knowledge gained in modern times, a parable of tales both imagined and real, till one can no longer tell the real from the imagined. Art columnist Kishore Singh says “if you look closely at her canvases and the tapestry of motifs unravels into more legends; turn voyeur and the epics are but a background to the unfolding melodramas of daily lives turned epic. She serves up the Upanishads and newspaper headlines in doses of caffeine. It is this that gives her canvases credible status as a chronicler of narratives past and present, Indian in their essence but universal in their context. “I am a mirror,” she says. “When I paint, you
and printmaking, her work has redefined the basic contours of figurative art in India, finding admirers across the planet. Gifted as she is with a prolific brush of creative energy Kohli moved through the ‘Unborn Series’ and finally arrived at ‘The Golden Womb’ or the ‘Hiranya Garbha Koham’ series that Born in 1960,Seema Kohli propelled her into an orbit of has created her own niche in her own. Her work captures the world of contemporary in its entirety the perpetual art since past 35 years. Her change, order, strength and creative repertoire is eclectic, fragility, colors and rhythm, encompassing a wide range melody and exuberance of of mediums ranging from the elemental world. It talks painting, murals, experiential about the creation, the cosmic installation performances, films to installations, sculptures journey, of the oneness of and each a unique expression being and the final liberation of her style. She has over time in relation to the golden womb or hiranyagarbha. has brought a synergy of her unique sensibilities and her art. Seema Kohli has had over 30 solo show in Venice, Working with oils on canvas, inks, mixed mediums, ceramics Brussels, Melbourne, London, see not what I have made but what you want to see.” “I,” Seema Kohli, painter and teller of stories, “am both myth and reality. Pick the one you want, but remember, the mirror distorts, and so the myth might be reality, and reality myth.””
NY, Dubai, Singapore Delhi, Mumbai, Hyderabad, Bangalore and many more. Has participated in International Biennale (Venice, Shanghai, India), Art fairs (Hong Kong, Basel, Beijing, Madrid, India) Her work can be seen as public art as murals of 10’ x 100’ at the T3 Delhi International Airport, Mumbai International/ Domestic Airport, the Defense Ministry, Tata Residency, Manipal University, ONGC, Tata Center of Excellence, Park Hyatt, Chennai, Lila Hotel-Delhi, Bangalore and many more.
WIN Conference Rome 2012, Prague 2013,India 2014/2016; NGMA Bangalore 2010, 2012 etc. She has received the Gold at Florence Biennale 2009,1 Premio “Video, the YFLO Women Achiever’s Award, the LKA Lifetime Achievement Award for Women in 2008. Her works are a part of various private and public collections like Melinda Bill Gates Foundation, Museums including Rubin’s Museum and MOSA-Brussels, Kochi Museum of Arts and many more.
She has had interactive session and experiential performances at WuWei Wisdom Santuary Bali 2016, Venice Biennale 2015, TedEx Chennai 2013,
Seema Kohli Oct 2016
Emami Chisel Art (ECA) is a part of the reputed Emami Group of Companies. It embarked on its journey as a full-fledged art organization from 2008, encompassing within its infrastructure two large gallery spaces, a library, archive, an art-shop and a publication section engaged in producing some of the most resourceful literary and visual productions. It organizes photography, art and craft fairs where craftsmen share space with contemporary artists under one roof. These fairs give a unique opportunity to the common viewers as well as art connoisseurs to collect artworks at reasonable prices. Besides this, EMami Chisel Art also organizes major curated shows reflecting the contributions made by eminent masters and upcoming talents. Emami Chisel Art looks forward in creating a vibrant art space ensuring authenticity and feasibility with a long term vision. It is always ready to provide fresh impetus to art-activities and enable accessible art-marketing.
SALES ENQUIRY Pinki Aggarwal : pinki@emamigroup.com Shankharupa Basu : enquiry@emamichisel.com CREDITS Design : Jaspreet Matharu Photography : Vishal Harnal Published By : Richa Aggarwal from Emami Chisel Art, Kolkatta
Š Emami Chisel Art, Kolkatta, 2016 All rights reserved, No part of this publication can be reproduced or utilised in any form or by any electronic, mechanical means, now known or hereafter invented including photocopy & recording or in any information storage or retrieval system, without permission in writing from the publisher.
Price : 250/-