Category: Arts & Culture

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‘Will we ever walk into the fields of gold again’

Now it has been about seven years since I started living in India, shuffling between Calcutta and Bangalore. Again, very different climates and regions from the west…Radhika Agarwala speaks with Sukant Deepak

When she moved back to her hometown Kolkata after being away for decades, she started seeing the landscape around in a new light. When the cyclone Amphan stuck, and the Pandemic after that, she took up the role of an archaeologist. “My studio started resembling an excavation site. I started collecting all specimens of felled trees and other found objects. After all, we had begun an ecological war in our landscape,” recalls artist Radhika Agarwala.

Considering she has been trained as a print maker and painter, this MFA in Fine Art from Goldsmiths, London and MFA in Painting from University of Florida, who over the years has also been making sculptures, adds, “I treat the metal like paper. Hence you see the fragility and permanence, and the dichotomy. I am also showing them in relation to the human body, after all human existence and nature complement each other.” she tells on the sidelines of the recently concluded India Art fair where her work ‘Will we ever walk into the fields of gold again’ in brass cast and patina was displayed by Delhi-based gallery Latitude 28.

The work is a commentary on the time that we have lost ecologically. She says it is also a time capsule for her: “The degeneration of hope and loss of a landscape and lives.”

Stressing that most of the times it is the theme that dictates the medium she chooses, the artists says that in case of the ‘Will….’ she wanted to show the burnt crevices, the nuances and minute details of nature around, and the beauty that she finds in the chaos. “And after deconstructing these specimens, I get into the metal, and then starts the process of reversing all classical techniques into a contemporary context.”

Talk to her about the ‘why’ of choosing nature as the central theme for the past several years, and Agarwala, who considers herself as someone with an insider-outsider view elaborates, “Now it has been about seven years since I started living in India, shuffling between Calcutta and Bangalore. Again, very different climates and regions from the west. I think I feel like an outsider in this landscape. Around 14 years ago, the Indian landscape was very different. We were talking about dystopia that could happen, but now after living there and moving back here in the urban jungles filled with concrete, steel, tar and the carbon that we are breathing — we are living it. These works basically evoke the time that is lost forever.”

Though paper as a medium has always been close to her heart, the past few years she has worked extensively with metal. “I am using a material like metal, something that I would not use conceptually as it is so masculine and aggressive as a material. So I want to show the feminine, organic and fragile part that nature has. It is that kind of dichotomy that I am trying to show. For me, all these works are as a sight of refuge and contemplation.”

Though the Pandemic was emotionally disturbing for her considering her studio is not part of the house and she had to redefine her practice, the artist says, “But I was quite charged up and took up the role of being an archaeologist. This time allowed me to be very experimental. I researched on patina and started looking at patina as paint. This gave me that flexibility to fuse the man-made and organic.”

ALSO READ-Voice of voiceless – running through stories

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Voice of voiceless – running through stories

The stories they had left behind with me in our interactions needed to be penned down. These are ordinary people who had the courage to do extraordinary things… Mohua Chinappa speaks with Vishnu Makhijani

Over a two-decade period, former communications and brand consultant turned writer and voice-over artist Mohua Chinappa had met women from diverse backgrounds, from a tribal Khasi woman who ran a tea stall to a journalist from the northeast trying to fit in the big city to an unassuming college girl who could not anticipate the “consequence” of her brutish rebuke to a man.

Thus, in her debut novel “Nautanki Saala and Other Stories” (Cursive), an average bar dancer gives an old codger the finger he deserves, and many protagonists believe they don’t have it in them. As a result, they deny their feelings, deny their desires, and make poor decisions.

“The stories they had left behind with me in our interactions needed to be penned down. These are ordinary people who had the courage to do extraordinary things,” Chinappa, who in her highly-popular podcast “The Mohua Show” interviews artists, entrepreneurs, and individuals who are working to make their communities economically and socially stronger, told IANS in an interview.

“My journey in writing them was an emotional roller coaster of many myriad feelings. I sunk with their sorrows and arose with their victories. Also I enjoy writing, therefore adding the dimensions to the characters was immensely satisfying,” she added.

The book, she said, placed her back again in the working world.

“It changed my status from a housewife to becoming an author. I was struggling with an identity crisis and this book renewed and strengthened my identity. It also gave me credibility as an writer and a podcaster. It helped me reboot and return into my work life after a gap of nearly 11 years,” the Bengaluru-based Chinappa explained.

How did she go about locating her subjects?

“I didn’t need to locate them. They stayed on from the first interaction to the last. All I did was delve deep into the recess of my memories and the surge of the emotions came gushing back as the characters developed,” Chinappa said.

The stories in the book cover a vast period. Is the world any different today from what it was in the time the stories are set?

“Yes, definitely the world has changed. It has become more fast-paced with less time to ponder. My characters lived in an era when people had simpler lives, heartbreak was considered a serious issue and trust came easier to people in their interactions even with strangers,” Chinappa elaborated.

“While the lives of the people are a testament to the cultural-economic shift in these decades, they are also an attempt to strengthen the feminist who hesitates in confiding,” she added.

Thus, there is a common thread – the voice of the voiceless – running through the stories.

“The common thread running in the stories is the voice of the voiceless. My protagonists are mostly people, who would go unrecognised in a world full of achievers and less dreamers. They speak their hearts out without the fear of judgement,” Chinappa said.

This makes it a must read for anyone who wants to understand and feel emotions such as heartbreak, displacement, betrayal, guilt and winning inspite of all the crazy circumstances.

“It will give the readers an insight into the mind of the feminist who is not scared to confide. The characters are naive, vulnerable yet with a steely resolve to live life on their own terms,” Chinappa maintained.

What next? What’s her next book going to be on?

Noting that her podcast helps her meet many people across the world who have stories to share, Chinappa said: “My next book is also feminist literature. And I hope to finish writing the draft by the end of this year.”

ALSO READ-Time travel in books

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‘How green is my valley’

Admitting that he did one to emerge out of it, but his mind was just not in rest, he says, “Well, after a few years, I did change my work, but when I went back to the Valley, it started again. However, I decided to look beyond my personal displacement.”..reports Sukant Deepak

During the height of the Pandemic, artist Veer Munshi made several trips to Kashmir, a place not unfamiliar to quarantine, though of a different kind. There, he began photographing people he knew through their windows who were in confinement owing to Covid.

“I tried to use architecture, spaces, heritage buildings and houses. To confine people beyond that architectural space is how I did this body of work,” he tells about ‘How Green is My Valley’, a grid of 14 photographs and one video that was displayed at the recently concluded India Art Fair. The video was made at an abandoned silk factory in the Valley, with a performance by a local Kashmiri woman. “Considering the fact that the politics there also keeps going in circles, I brought that metaphor into the work.”

Some of the people in the photographs were those he would speak to everyday, stressing that to be in a studio is one thing, but to have an inclusiveness outside of it is different. “I work a lot with theatre people and see their role and anguish into how they express their dynamics around their work,” he says.

For Munshi, who was forced to leave Kashmir like many other Pandit families, art is an extension of one’s life and experiences. Though his training at Baroda was different from what he does now, he says things can change when one is hit by life. “I loved to be in Kashmir after college but the political scenario that forced us to leave hit me deeply — something that comes out in my works. There was political unrest and homes were in shambles, how could I be left unaffected?”

Admitting that he did one to emerge out of it, but his mind was just not in rest, he says, “Well, after a few years, I did change my work, but when I went back to the Valley, it started again. However, I decided to look beyond my personal displacement.”

For someone whose house was burned down, he started documenting abandoned houses there. “This was the first time I had explored photography, and started investing in cameras. And 15 years later I again went back to Kashmir, and I got caught between stone pellets and security. The next day, I saw automobiles parked in a very different way and that stayed with me. After I got back to Gurugram, I started drawing them.”

Believing that every time he goes to Kashmir, something emerges, he adds, “Once I get a body of work back home from here, I feel I am done but something new strikes. Just like during the Pandemic times — confinement caught my eye, I did not have to struggle for it, it just came out.”

He says that while some ideas work and some do not, he does not necessarily go with the notion that he has to create something. “The same is with my papier-mache. I meet different people downtown on my walks, and they have their own stories to tell.”

Talking about the art form (papier-mache), Munshi is sad that it is dying as it is not lucrative enough for the next generation in Kashmir and youngsters would prefer corporate jobs rather than knitting or creating art. “I brought my art into this so I can identify where my ideas are from. I wanted to bring it into the contemporary world so that it can bring another layer of life. Without art we cannot make a statement about who we are, so we have to take a call,” he says.

Munshi who along with some other artists had started a conversation around ‘Srinagar Biennale’ says that it would have been able to sensitise people about the the place and could have brought artists from across the country to Kashmir. “Kashmir is seen as a politically unstable area but we did reach a point where an effort was made to bring artists who left Kashmir and went to other places. We need intellectual property to be restored there — artists, theatre people and writers. The Biennale can happen anytime and anywhere and we are inviting anyone who can come and initiate it,” says Munshi whose next project will be a collaboration of his individual works and those of craftspeople.

ALSO READ-Imbue: An art of living in the moment

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Books Lite Blogs

‘No Shadow Without Light’: A must-read environmental bestseller

‘No Shadow Without Light’ is the long-awaited sequel to ‘The Devil’s Prayer’, a finalist in 2016 at the Australian Shadow Awards established by the Australian Horror Writers Association…reports Asian Lite News

In a world desensitised to environmental documentaries, historical fiction novels of Mumbai-born Luke Gracias allegorically tell the story of an impending apocalypse. The highway to Armageddon is signposted by historical texts, monuments and climatic events humankind chooses to ignore.

These features in ‘No Shadow Without Light’ (Write Place/Crossword), a must-read environmental bestseller which is a call to action to protect the “tools of survival” needed by the next generation.

It’s centred around The Devil’s Bible, currently held in the National Library of Sweden. It has 12 missing pages, rumoured to contain an apocalyptic text known as The Devil’s Prayer – pages written for Jess Russo, the child of the Devil, to find and unleash Armageddon. Only her elder sister Siobhan can stop her by finding these pages first.

From the Templars of Tomar to the Doomsday Chest in London, from the Curse of Amir Temur to the Shadowless Pagoda of Wuhan, the sisters race along the trail of destruction unleashed by each page. For every page that Jess finds, people are encouraged to be selfish, and hoard for themselves, erasing the chances of survival of other species and our future generations. Siobhan appeals to the selfless to protect our resources for the future.

This book is a prayer of despair and hope.

Gracias graduated in Marine Engineering before migrating to Australia in 1992. He completed a Masters in Environmental Engineering from the University of Melbourne in 1995. He has worked as an Environmental Specialist for over 25 years consulting for multinational mining, oil and gas, infrastructure and transport companies. An avid photographer, he has travelled extensively to encourage international companies to bring cutting-edge environmental technologies into Australia.

In 2007, he started a film production company called Instinct India, which line-produced the Australian shoot of ‘Singh is Kinng’, a major Bollywood box office hit of 2008. He decided to learn the art of story-telling and undertook a number of courses in creative writing and film production. In 2014, he developed ‘The Devil’s Prayer’ as a film script. In 2016, he converted the script into his debut novel.

‘No Shadow Without Light’ is the long-awaited sequel to ‘The Devil’s Prayer’, a finalist in 2016 at the Australian Shadow Awards established by the Australian Horror Writers Association.

ALSO READ-Kalimat marks World Book Day with four inspiring titles for children

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‘You don’t exist if you’re not represented’

This bold new stance for women in art has created a wave of transformation with its effect echoing across the world…reports Gunjan Srivastava

While women have been the subject of many a masterpiece, prized and adorned on the walls of prestigious museums and galleries across the world, the progress made in the representation, as well as the recognition of women as ‘the artist’ rather than ‘the muse’, has, to this day, been slow-paced. Although it may seem strange that the archetypal concept of gender disparity makes its presence felt in a community that is seemingly so liberal and open in its ethos, the reality is that it’s much the same as any other industry and widely prevalent.

The origins of the lack of gender equity within the artistic community can be traced back to the fact that women weren’t allowed to enter artistic professions or receive training until 1870. However, with that said, it’s hard to understand why more than century later women are still fighting against being type-casted as second fiddle to their male counterparts. Theories about the cause of this disparity within the artistic community have ranged from cultural biases in the interpretation of art, the disproportioned diversity of curators, collectors, and gallerists as well as the common ‘isms’ that plague women in any field they call their dominion.

However today, with the foundation laid by women before us, women artists have begun to take the art world by storm, commanding respect, recognition as well as a place of their own. Nigerian-born, visual artist Njideka Akunyili Crosby captured this sentiment beautifully when she said, “You don’t exist if you’re not represented. I felt a need to claim my own social existence by making the representation happen.”

This bold new stance for women in art has created a wave of transformation with its effect echoing across the world.

In India, women have been on the receiving end of countless persecutions, and stigmas for centuries, all in the name of culture and tradition. However, over time a brave few have taken up alms, with the paintbrush as their weapon of choice, to raise awareness and in that awareness incite change. To India’s women artists, art has served as a recluse and a megaphone; it provides an outlet to express their struggle as well as to draw attention to the plight of India’s women as well as the societal pressures that are placed on our shoulders. From paintings and sculptures to installations, these artists have made their presence felt and have done so since pre-independence. And while all may not have experienced commercial acclaim in their lifetime they certainly have attained critical acclaim.

Perhaps one of the most prolific of these canvas matriarchs is Amrita Sher-Gill who, in her hauntingly soul-searching self-portraits highlighted the culture as well as the despair of rural India; earning her the title of India’s Frida Kahlo. Contemporary artist and Padma Shri recipient Anjolie Ela Menon is another, who, in one of her most renowned works ‘Shabnam’ explored the hidden emotions and sensuality of women. Rekha Rodwittiya is yet another contemporary artist, who through her series of nude paintings, depicted the female form in a resolute and powerful disposition, showcasing the strength of a woman. Knowingly or unknowingly all these incredible artists along with their collections and creations have helped pave the way for a generation of artists who are unabashed in their creations as well as their meaning.

Take Goa-based visual illustrator Arunima Bose, who in her interactive installation titled ‘In Full Bloom: Playing with Pleasure’ wanted to normalise female sexuality. Illustrator and installation artist Shilo Shiv Suleman combines art and technology to create work that aims to drive social change. In fact, she’s even founded the Fearless Collective, which is a coalition of 400 Indian artists, who use art as a medium to protest against gender violence.

American abstract expressionist painter, Grace Hartigan once said, “A work of art is the trace of a magnificent struggle.” and as you browse through the pages of history, you will begin to understand that women have not just fought and persevered to be heard, but have triumphed against all odds. It is no wonder then that as you go deeper into the relationship women have had with art, you will notice that their endeavour isn’t merely to create aesthetic value, but to provoke change through every brushstroke.

Whether, as a muse, subject, or creator; standing on the shoulders of exceptional women before us the duo of women and art is perhaps the most enigmatic relationship that has taken more than a century to evolve. And with current generations taking on the mantle of challenging the status quo and pushing the boundaries of our representation and our place in this world, the future holds a multitude of opportunities, exciting adventures, and gender as well as era-defining movements.

ALSO READ-Imbue: An art of living in the moment

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Arts & Culture India News

Ladakh int’l music festival ends with heartfelt tribute to Bravehearts


The army said the event witnessed an overwhelming response from locals, tourists as well as media houses and was a grand success…reports Asian Lite News

The first ever Ladakh International Music Festival (LIMF) concluded in Leh on Monday, officials said on Tuesday.

The army said that the event, which was conducted over three days from April 30 to May 2, saw performances by local as well as contemporary bands.

“The event was aimed at paying tribute to heroes who laid down their lives for the motherland as also to showcase local talent and music as part of ‘youth empowerment’,” the army said.

The event was organised at Col Sonam Wangchuk Stadium in Leh by two media houses, ‘Picture Time’ and ‘Sky2Ocean’, with support from Fire and Fury Corps, Ministry of Culture and Tourism Department of the Union Territory of Ladakh.

“Leading bands of the country, including ‘Indian Ocean’, ‘Tetseo Sisters Nagaland’, ‘Parashra Band’ and ‘Joi Barua Band’ participated in the festival along with six local bands from Leh,” the army said.

The event provided a platform to the local bands to participate alongside contemporary musicians from the rest of the country. In addition to the leading bands, Bollywood celebrities Darshan Kumar and Richa Chadha also attended the event.

The army said the event witnessed an overwhelming response from locals, tourists as well as media houses and was a grand success.

To pay tribute to the Bravehearts who laid down their lives in the defence of Ladakh, a new metaverse ready song composed by Joi Barua will be released at the Rezangla War Memorial on Wednesday.

ALSO READ-A galaxy of artists perform against violence in the world

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Arts & Culture India News

J&K National Film Festival to kick off in June

There are over 40+ awards to be given during the Film Festival Award ceremony and the winners will receive mentioned cash component as well a certificate and a medal/trophy…reports Asian Lite News

The Jammu and Kashmir Film Development Council in collaboration with National Film Development Corporation and the Union Ministry of Information and Broadcasting, is organising the first-ever National Film Festival of Jammu and Kashmir from June 15-20, officials said on Monday.

The film festival, which will be a congregation of the best of films and music, film-makers, music artists, other allied talent, will serve as a reservoir of creativity and inspiration for anyone across the world who aspires to live, love and breathe films and music.

The idea behind this film festival is to highlight the film, music and creative ecosystem in Jammu and Kashmir, along with its’ natural and social-cultural beauty that Jammu and Kashmir has been blessed with, to rest of India and the world.

The Indian filmmakers and music producers, artists have been invited to submit their original films — fiction, documentary, OTT Films or shorts and Music Videos for the first National Film Festival of Jammu and Kashmir for a chance to win numerous awards under three broad categories including Feature Films, Non-Feature Films and Music Videos.

There are over 40+ awards to be given during the Film Festival Award ceremony and the winners will receive mentioned cash component as well a certificate and a medal/trophy.

The list of awards and prizes, rules and terms have been mentioned in the website https://filmfreeway.com/nffjk while the entries can be submitted at — https://filmfreeway.com/nffjk. The last date for receiving entries on the website is May 16, 2022.

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A galaxy of artists perform against violence in the world

Nearly five hours filled with performances of music, dance, spoken-words and films by artists from a diverse cultural heritage showed their anger, frustration against the ongoing violence and expressed their solidarity with the people of Ukraine, writes Prof. Geetha Upadhyaya

Prof. Geetha Upadhyaya

Curated by Ahmed Kaysher, the Director of Saudha, a series of haunting performances by a galaxy of 52 artists was presented at the Rich Mix theatre, East London.  Kaysher said, “The event actually showcased the impact of the violence and war on artists’ imaginations and their responses against the current invasion of Russia in Ukraine as well as all forms of violence happening all around the world. 

Nearly five hours filled with performances of music, dance, spoken-words and films by artists from a diverse cultural heritage showed their anger, frustration against the ongoing violence and expressed their solidarity with the people of Ukraine.

Poet and playwright John Farndon, who has been translating Ukrainian literature for many years, said ” This is simply a horror that no-one can just ignore. What can we writers do now against this invasion? The painful answer is not much. And this helplessness is even more depressing.” 

A leading South Asian singer Gouri Chowdhury said “Could anyone have imagined a shameless aggression like this in 21 century? These atrocities almost became a TV show now. Ukraine is burning but it should have burnt the hearts of the global community, and the world should do more to stop this..”

Poet and theatre-activist Amy Neilson Smith, read her poem of powerful verses ” Our hearts stop, Thoughts of leaking breasts, torn tectonic plates, as fresh eggs are cracked, cooked & served on Putin’s cold plate.” .

Poet and fictionist Mona Dash ended her beautiful poem with hope – “By now, we know enough, to know, we must stop war!  May the sunflowers bloom, the nightingales sing soon in Ukraine.”

Writer and composer Peter Culshaw who has written quite often about Ukraine for Guardian, Songlines, Odessa Review said, “Ukraine is a special place between a backward looking tired Europe and Russia run by an autocratic psychopath. The invasion was unprovoked as an imperialist fever dream. Ukraine a democratic, free, culturally rich country and had to be stamped on but will surely prevail.  

“It was an incredible event with a true international mix of a wide variety of performances against war” that’s how Anastasiya Belovoba described the event.

BBC slum champion poet David Lee Morgan said, “The Ukrainian people are historically fighting back against a criminal and cowardly Russian invasion”.  

Art & culture is the only thing that can spread peace everywhere! Saudha’s work & collectiveness are essential, inspiring & using art to conquer war mentality.”

For further information on the work of Saudha pleaae contact :

https://www.facebook.com/groups/saudha/

On Kaysher

07828190551

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Imbue: An art of living in the moment

Talking about the last two years, Sinha says that the pandemic taught him humility and introduced him to the fact that we do not really have control over things…reports Asian Lite News

He grew up in an industrial environment and his father owned automobile factories. In the dusty, cacophonous surroundings, artist Narayan Sinha found beauty in mechanical mediums and was inspired to reimagine life through them.

As his latest solo exhibition of installations ‘Imbue’ opens at India Habitat Centre on April 27, showcasing diverse metallic and stone sculptural forms made from recycled found material, he says that it is a celebration of life and positivity after a period of several emotional lows.

“Post my ‘Firelight’ series that had negative overtones, I wanted to celebrate life through this one as the pandemic had taught me to live in the moment. This exhibition is a consequence of that sentiment,” he tells.

Considering Sinha’s last exhibition ‘Firelight’ was held in an old Kolkata mansion at Queens Park where the sculptural installations created a unique presence in the space, the artist says art galleries also work as facilitators to take art into newer spaces.

“By exhibiting in an old bungalow, I was trying to highlight the fact that ultimately nature engulfs all that we create for our pleasure and pride. What we spend a lifetime creating is so insignificant in the larger scheme of things. We as a society need to reflect on this.”

Stressing that his work always embraces nature in its diverse forms, which in turn leads to respecting our own natural identity, he adds, “My work is organic by nature. Nuances of life attract me and I love to play with scale. My sculptures must always be relatable to the common man and therefore natural, found, recycled materials find prominence in my work. The common man makes it a conversation piece because they identify with it.”

Talking about the last two years, Sinha says that the pandemic taught him humility and introduced him to the fact that we do not really have control over things.

“In short, it is important to live in the moment and be happy that we are. We were taken unawares when the pandemic hit us. I was in Nalhati village in West Bengal with my daughter, and there was no medical facility available. We were all struck by the virus and the only healing available was nature. For my daughter, all I had was the sunlight’s natural vitamin D, basil leaves and honey.”

While the lockdowns demonstrated that the country needed more private art bodies and foundations to support artists, Sinha feels that it is also high time to empower the state bodies.

“This is so better infrastructure and incentives can be provided to young artists, and they feel sheltered and cared for,” concludes the artist, who is set to work on some international projects in the near future.

ALSO READ-Its ‘INDIA ART FAIR’ time

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Its ‘INDIA ART FAIR’ time

The artworks have been hung, the performers have been prepared, and the India Art Fair is all set to celebrate Indian and South Asian art…reports Asian Lite News

The Fair which opens today in the Capital has a features a series of soirees and events around art and culture.

This calendar ensures you don’t miss out on the best it has to offer:

NFTEASE

April 30, 2022, 4 p.m.

Leading NFT artist Raghava K.K. and platforms Terrain.art and BeFantastic will demystify the world of NFTs.

THROUGH THEIR EYES: RAGHU RAI AND EMMANUEL LENAIN

May 1, 2022, 4 p.m.

Iconic Indian photographer and French Ambassador to India will discuss their passion for photography.

BMW ART TALK: ATUL DODIYA

April 30, 2022, 2 p.m.

Dodiya will be the first ever Indian artist to give the prestigious BMW Art Talk.

THE CHANGE IS YOURS

May 1, 2022, 2 p.m.

Young artists and collectives will speak about the importance of peer-support and creative sustainable art platforms.

Performance art and outdoor Projects

REFLEX: HETAIN PATEL

Location: Auditorium, April 30, 2022, 5 p.m.

The artist will reflect on his identity as a second generation British-Indian, using choreographed movements to explore his inherited family history.



GHAR-GHAR: GURJEET SINGH

Location: The Studio, April 28, 2022, 5 p.m.

A performance about child-like wonder and make believe featuring Singh’s signature soft sculptures.

THE FUTURE IS FEMME: ARAVANI ART PROJECT

Location: India Art Fair grounds

A massive 50-feet mural imagining a binary-free future, supported by Saffronart Foundation.

I LOOK AT THINGS WITH EYES DIFFERENT FROM YOURS: SHILPA GUPTA

Location: India Art Fair grounds

A special T-shirt designed by the artist being worn and brought to life by fair volunteers.

360 MINUTES OF REQUIEM: ARPITA AKHANDA

Location: The Studio, April 29, 2022 & April 30, 2022, 3 p.m.

Over two days of the fair, the artist will deconstruct 360 feet of barbed wire fence as a meditation on partitions and divisions.

ENGULF: NARAYAN SINHA

Location: India Art Fair grounds

A large metal sculpture pointing to balance and harmony in the midst of chaos, supported by Arts Ananda Trust.

Sign up for an art workshop



DOTS, LINES AND SHAPES

Location: Inclusion Lab, April 29, 2022, 11:30am

A workshop that demonstrates the many ways to interpret and perceive information.

INVITING NATURE: STOP-MOTION WORKSHOP

Location: Workshop Space, April 30, 2022, 3 p.m.

Learn how to make collages and short stop-motion animations reflecting your individual concerns about the environment.

GIFT A FLOWER, MAKE A FRIEND: PRINTMAKING WORKSHOP

Location: Workshop Space, April 29, 2022, 3 p.m.

Artist Paula Sengupta will lead a printmaking workshop, open to all.

SEEING ME THROUGH YOU: ART APPRECIATION WORKSHOP

Location: Workshop Space, April 29, 2022, 3:30pm & April 30, 2022, 2 p.m.

How do you begin to look at art? Join this guided workshop perfect for those making their start in art.

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