Latest news with #NikheelAphale
Hindustan Times
3 days ago
- 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
4 days ago
- 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.
