Latest news with #Artisera
The Hindu
05-08-2025
- Entertainment
- The Hindu
Artisera's Myth, Memory, Meaning takes viewers beyond the canvas
Myth, Memory, Meaning showcases the works of four contemporary women artists — Ashu Gupta, Rakhee Shenoy, Smruthi Gargi Eswar, and Sukanya Garg. Much like the artists themselves, each of the works on display encapsulates a different style of creative expression. The media employed by these artists include the use of thread, gold leaf and paper as well as acrylic to design works that bid viewers to look deeper into each piece. While it may seem unusual, Delhi-based artist Sukanya Garg says the inspiration for her work with gold leaf, stemmed from herself. 'I've had an auto immune condition for quite a while now and once when I was sick, I started drawing cells. I suppose it was a subconscious action — I would draw a circle with a dot much like a symbolic cell. Initially, the act of repetition was a distraction and calmed me; later, I began to create other works building on this style.' This was almost a decade ago and over the years of exploring alternative practices to ease her condition, Sukanya came across Kambo, a folk healing method practised by a few communities in the Amazon that include cauterisation to specific points of the body in an attempt to purge it of toxins. Her present work on display at Artisera are reminiscent of this method — crafted on paper and using gold pens and gold leaf, a medium she began using around three years ago. The exhibition show cases around 19 pieces by Sukanya, a former economist with no exposure to the art field prior to her illness. Bengaluru-based Smriti Gargi Eswar is well known for her series titled Sister Misfortune on goddesses, and though the works on display at Myth, Memory, Meaning also revolve around mythology, the artist says they are a part of her new series The Centre is Everywhere. 'These are based on the concept of how geometrical shapes essentially converge to a centre,' says Smriti. 'In Cosmology, there is no centre to the universe — everything is central to itself. Similarly in mythology, there is no central God but many heroes, many points of reference. It is not monotheistic, and I wanted to bring to light hidden mythologies from the Indian epics.' Though she has worked with various media in the past, especially graphic art, Smriti has used acrylic on canvas to juxtapose fabled creatures and places exist with geometric shapes and lines. Myth, Memory, Meaning will be on view at Artisera till August 16. Entry free on all days; on Sundays by appointment.
Mint
26-07-2025
- Entertainment
- Mint
Planner: 6 events you definitely want to catch this weekend
Artisera is presenting the exhibition, Myth, Memory, Meaning, featuring four women artists, Ashu Gupta, Rakhee Shenoy, Smruthi Gargi Eswar and Sukanya Garg. Each visual practitioner has engaged with different facets of storytelling. 'The title of the exhibition speaks to three elemental forces—'myth' as symbolic storytelling, 'memory' as a lived archive, and 'meaning' as the ever-shifting pursuit of understanding,' states the gallery note. Take, for instance, Ashu Gupta's work, which involves making new meaning out of everyday moments using stippling, paper piercing and embroidery. At Artisera, Indiranagar, Bengaluru, 26 July to 16 August, 10.30am-6.30pm (closed on Sunday). Her Only Companion, Acrylic on Canvas, 60 x 48 inches, 2025 It feels that time has frozen in Pooja Shah's paintings, which are currently on view at Akara Contemporary. The solo show, Riddles of the Wor(l)d, delves deep into the artist's personal universe. Most of the characters in her paintings are her family members, relatives and strangers. There is a sense of waiting and a feeling of pause in most of the images—a woman sweeping, caught up in the act, even as a family partakes in a puja oblivious to her presence. There is no main protagonist, everyone in the frame seems to be an integral part of this depiction of the everyday continuum. At Akara Contemporary, Colaba, Mumbai, till 5 August, 11am-6.30pm. Dancer Prateesha Suresh Prateesha Suresh will present Virahini – Nayikās, a Sattriya dance performance that draws from the 500-year-old Borgeet, a collection of Assamese devotional songs composed by saint-poet Srimanta Sankardeva. At Godrej Dance Theatre, National Centre for Performing Arts, Nariman Point, Mumbai, 30 July, 6.30pm. For details, visit An artwork from 'Act of Republic' on display at Chemould Prescott Road Act of Republic, a solo show by Naresh Kumar explores the idea of migration and what really is home—the place you were born or the place you grew up in. At Chemould Prescott Road, Azad Maidan, Fort, Mumbai, till 22 August, 11am-6pm. For details, visit A still from Chekhov Ki Duniya Based on a collection of six stories by Russian writer Anton Chekhov, Chekhov Ki Duniya is a two-hour play that explores the theme of love, guilt and ambition. It is directed by theatre artist Ranjit Kapoor. At Abhimanch Auditorium, Bhagwan Das Lane, Mandi House, New Delhi, 26-27 July, 7pm. For details, visit Dakhni Urdu rapper Pasha Bhai at a concert. On Sunday, the Sabha X Luru Monsoon Edit in Bengaluru gives culture lovers a chance to vibe with two original music acts: Teesta Troupers, and Pasha Bhai & Demixx Beats from Bengaluru hip-hop collective Clan Bokka Phod. While Teesta Troupers are a collective of musicians, rappers and songwriters from West Bengal, whose music draws from their experience of growing up along the Teesta highway, Pasha Bhai and Demixx Beats are known for their high-energy rap performances in Dakhni Urdu. At Sabha, 262, Kamaraj Rd, Shivaji Nagar, Bengaluru, 27 July, 5.30 pm onwards. Tickets on
Hindustan Times
30-05-2025
- Entertainment
- Hindustan Times
Artist Nikheel Aphale explores mythologies, divinity through Devanagari
New Delhi, A solo exhibition by calligrapher Nikheel Aphale explores themes of divinity, mythological stories, spiritual prayers, and the nuances of humanity - from coexistence and inclusivity to unity and equality - through artwork based in the Devanagari script. Organised by Artisera at Bikaner House, "Aksharscape" is Aphale's landscape of letters, where text has surpassed its linguistic purpose to become a form of self-expression. Letters take unusual forms, evoking memories, emotions, reflections and wishful thinking in Aphale's latest body of work. "'Aksharscape' is a conceptual landscape shaped by the abstract beauty of Devanagari letters. In this body of work, the alphabet transcends its linguistic role, transforming into visual forms that stir memory, emotion, reflection, and imagination. Each letter becomes more than a symbol-it becomes a gesture of self-expression and a bridge between script and sentiment," Aphale said. He added that his current body of work invites viewers to experience language not just as text, but as an art form. "It is an artistic proposition to see letters not just as symbols of sound, but as forms that evoke emotion, memory, and imagination," he said. Aphale's experiments with calligraphy started in 2006 when it dawned upon him that unlike Japanese, Persian, or Chinese calligraphy, which are internationally renowned, Devanagari, despite being used for several languages such as Sanskrit, Hindi, Nepali and Marathi, was never fully developed as a fine art form. The realisation served as an impetus for the artist to explore the script as an art form. Working mostly with ink, watercolours, and acrylic, Aphale also uses unconventional tools such as toothbrushes, sponges, bank cards, feathers, and coconut husk to explore new ways of expressing his artistic voice, and taking calligraphy beyond its conventional definition of 'the art of beautiful handwriting'. While not overtly religious, Aphale's work explores nuances of humanity, visiting themes like coexistence, unity, inclusivity, and equality, by drawing parallels between human society and the unbiased nature of Devanagari letters and their grammar, through features like 'barahkhadi', conjuncts, and the absence of silent letters. "Nikheel's work is fresh and contemporary, while still being strongly rooted in Indian culture, and we believe he is an artist to watch out for in the years to come," Varun Backliwal, founder of Artisera, said in a statement. The exhibition will come to a close on June 1.
The Hindu
29-05-2025
- Entertainment
- The Hindu
Nikheel Aphale's calligraphy creates a spiritual experience
In his solo exhibition Aksharscape, artist Nikheel Aphale reflects on his personal experiences through calligraphy as a form of expression. The unusual forms on his canvases are wrapped in nostalgia and encompasses all that he strongly feels about. 'Usually calligraphy is considered ancient. But in my art, I have used the Devanagari script in a contemporary form; it is the soul of this exhibition.' Lisa Jain, the co-founder of Artisera, which is presenting the exhibition at Bikaner house, says, 'Nikheel's work showcases thepotential and strength of letters. They don't need to be written in a legible form, they can be abstract or stylised and yet come together to create a beautiful piece of art.' Nikheel's passion for calligraphy and art took shape when he started off as a professional artist in Delhi. 'I formally learned calligraphy as a part of my Under Graduate degree in Applied Arts. But it was in later years, I began utilising my free evenings to practice calligraphy.' 'The most fascinating part of calligraphy is that no illustrations or photographs are used; only the letters create visuals,' says Nikheel. He adds that he does not restrict himself to one particular tool while making his drawings. 'Along with the traditional tip pens used for kalam calligraphy, I use quite a few unconventional tools including scotch brite, toothbrush, shaving brush, foam, sponges, to create different textures.' On the use of colour in his work, Nikheel says he uses them to complement his original pieces because calligraphy is not bound by any hard and fast rule against usage of colour. Many forms, one essence One particular art piece at the exhibition grabs eyeballs. It consists of the Devanagari letter 'ka' which is presented in a multitude of avatars. Each is distinct, yet rooted in shared identity. It is in this visual rhythm of sameness and difference that Nikheel's artworks finds a voice. He draws a parallel between the evolving shapes of letters and the human experiences irrespective of the differences in language, gender, class, colour, belief, and topography. 'There's something essential that binds us,' says Nikheel whose painting 'Many forms one soul' consists of letters on the canvas in all shapes and sizes just like people. 'But the letter Ka remains true to its form despite change just likehumanity persists beneath the surface.' Another artwork, Navadurga is a contemporary interpretation of the nine manifestations of Goddess Durga - Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayini, Kalaratri, Mahagauri, and Siddhidhatri. It evokes a quietpower, the kind that settles in slowly but leaves a lasting impression. At the center of each composition lies a bold, red kumkum circle which intrigues the viewer to ponder its placement. It is a celebration of feminine divinity in motion, bridging traditional reverence with modern minimalism, Nikheel says. Aksharscape unfolds as a profound exploration of a script. It works as an instrument for meaning, memory, and presence. In an interplay of sacred symbols and everyday scripts, the exhibition finds its rhythm and holds reverence for tradition and a deep curiosity for form. It is a body of work that reflects the stillness and complexity of what it means to hold many identities in one unified essence. At Bikaner House, Main Gallery, Pandara Road; Till June 1; 10am to 6pm
New Indian Express
21-05-2025
- Entertainment
- New Indian Express
Choosing Devanagari has been an organic evolution, says Nikheel Aphale on his debut solo exhibition, Aksharscape, in Delhi
Nikheel Aphale's art practice draws on calligraphy with the Devanagari script as his muse. Devanagari is the script of his mother tongue, Marathi, and its sounds and visuals triggered his art practice and study of it. 'Aksharscape' is an artistic conceptual landscape of letters from the same script. Aphale's first solo exhibition in Delhi, at Bikaner House (till June 1) has been hosted by Artisera, an online space dedicated to fine art and artistic luxury. Excerpts from a conversation with the artist: Why and since when have you been drawn to calligraphy? My fascination with alphabets began at a very early age. Blessed with neat handwriting, I was the go-to-student for decorating blackboards or creating charts in school. I inherited this good handwriting from my mother, who writes beautifully. I went on to pursue a BFA in Applied Arts at L.S. Raheja School of Art in Mumbai, where I was introduced to Calligraphy and Typography as part of the curriculum - this was the first time I heard these terms. I was fascinated by how letters alone could express emotions and transform into meaningful visuals. We were also exposed to the works of eminent calligraphers and designers from Mumbai at college. Later, during my post-graduation years at the National Institute of Design (NID), Ahmedabad, I was exposed to the works of international designers and typographers, gaining in-depth knowledge with a global outlook. All these experiences - from my childhood encounters with blackboard to learning from experts as a young adult, subconsciously directed me towards the path of exploring the'art of beautiful handwriting'. Why is Devanagari script in calligraphy the base of his first solo exhibition in Delhi? Is calligraphy so far the art form you have exclusively used to express yourself? To begin with, I learnt both Latin and Devanagari scripts. But as I further explored the world of calligraphy, I realised that most of the world is aware of Middle Eastern and Eastern calligraphy like Arabic, Persian, Japanese, Chinese, etc. The Latin script is the preferred choice for most calligraphy enthusiasts and beginners. In my mind, I started questioning the position of Devanagari and other Indian scripts at the world calligraphy stage. I couldn't find a clear answer. The simple thought of showcasing its potential globally drove me towards further exploring this beautiful script, Devanagari. I am very close to this script in the true sense, as it is the script of my mother tongue, Marathi. Since birth, I have been immersed in its sounds and visual forms, and that has helped me to build a very comforting bond with it. So, choosing Devanagari for my art practice has been an organic evolution and obvious decision. In India, calligraphy is in popular imagination connected to Urdu literature or Mughal court art form or the Quran. What modern day spheres can calligraphy be used? I was introduced to calligraphy through my art education, where I was exposed to a distinctive visual aesthetic in which letters take centrestage - whether in art or design. I was drawn to the idea that, without using any illustrations or photographs, letters alone could become a powerful medium of expression and communication. Today, calligraphy is being used in many commercial domains like branding, logos, book covers, packaging, calendars, wedding invitations, etc.
