Gallery Espace Explores Alternative Feminism Through The Diversity of
Five Women Artists in 'Moving Beyond the Frame'
New Delhi: Cutting across boundaries and cultures by exhibiting the works of 5 renowned women artists from Bharat, USA, and United kingdom of great britain and northern ireland, Gallery Espace presents Moving Across the Frame: A Infinite for Culling Readings..., a five-woman show exhibiting culling concerns with femininity and feminism. The exhibition is on view from December xix, 2008 to January 13, 2009 at Gallery Espace, (Level 0-ane), xvi, Community Eye, New Friends Colony.
The participating artists include Maxine Henryson, Catherine Mosley and Jaishri Abichandani from The states, Sutapa Biswas from UK and Paula Sengupta from Republic of india . The five artists take explored a diversity of mediums including collages and printmaking, sculpture and installations, photography and drawings.
Says Renu Modi, Managing director, Gallery Espace: "Through their work, each artist deals with issues related to the fact that one'south identity is in a constant flux, exist information technology their sexual or gender-related identity, be it how one deals with the cocky in society having migrated to a different country or in just attempting to decode another civilisation."
Kolkata-based artist Paula Sengupta, who largely works in the genre of the autobiographical narrative, addresses issues of feminist business organization through her work. Explains Paula Sengupta: "The present body of work addresses the lump in my throat, the numbness in my veins, and the loss in my heart for a land long lost." Her usage of everyday objects similar cloth, lacework, crochet and piece of furniture transforms the exhibited area into an intimate domestic infinite.
Paula Sengupta recreates a fragile nonetheless surreal space from the past where the viewer discovers reminiscences of women who led seemingly idyllic lives, nonetheless had complex emotional uncertainties and secret desires to break free from social conditioning and the claustrophobia of the male gaze. For instance, in her diary-shaped installations titled Bay of Bengal & Hugli and Karnaphuli, she narrates her family stories to showcase miseries faced by her family during the Bengal sectionalization and Hindu- Muslim rioting in 1947. She says: "In 1947, my family unit witnessed Hindu-Muslim rioting and a village that was predominantly Hindu, turned suddenly Muslim. My family unit fled its home in Bangladesh and I lost my roots forever. When destinies were fatigued and history was rewritten, how is it that my mother'due south tears were never mentioned? And yet, more than sixty years later, they keep to flow."
The female protagonist in Paula's work assumes a bigger dimension in USA 's Catherine Mosley'southward six collages paintings that employ homo images and brute forms to convey the stressed notions of the victim and the predator. Her interpretation of 'wild', ranges from the natural to the supernatural in subject affair, from the figurative to the abstruse in way and from the dreamlike to the gritty in theme. Her works Tree Tempest and Goodbye give the impression of surroundings being swept abroad in a dreamlike structure. Her collages motility, shapes tangle and colours whirl in strong currents of abstraction. In yet another work titled Falling Daughter, the nude, inverted, and falling female form is symbolic of vague memories of a fourth dimension gone past. The collage is a woodcut that appears to be embedded in a well-worn piece of textile.
Says Catherine Mosley: "I first print my collage cloth using stencil, mono-press, transfer processes and woodcut and then aim towards the close merging of the paint and paper materials to bring out a display of opacity and translucency."
While Paula Sengupta'south and Catherine Mosley's works highlight their extensive background in printmaking, USA's Maxine Henryson captures simple and archetypal images in her camera's viewfinder. A freelance photographer who keeps roving between the cultural landscapes of New York Metropolis, Vermont, Europe and South Asia , she creates an impeccable balance of figuration and abstraction in her photographs that furnish a narrative that naturally unfolds itself. Her bailiwick matter revolves effectually using simple and archetypal characters like trees, rivers, clotheslines, women, children, temples, seasons, courtyards, flowers, gardens, curtains, vessels, fences, bedspreads and many more everyday objects.
In one of her serial titled Red leaves and Gilt Curtains, she explores her perception of the feminine in the world, examining the differences and similarities among cultures. She also traces show of divinity, rituals, identify, retentivity and history in the Westward and East. She says: "These images are my response to the present while mirroring the past. The abstraction of the photographs reflects distance and proximity. The photographs represent intimate moments and bequeath a new form of painting that uses photography as a medium."
Feminism in a bolder form is what marks creative person, social worker and founder of the Due south Asian Women'southward Creative Collective, Usa-based Jaishri Abichandani's works who breaks the shackles of predictability past presenting bold brandish of fetishized objects similar leather whips, dildos, plastic breasts, wire with swarovski crystals. Her works, oftentimes called as lingam sculptures are highly ambiguous objects and hover between irony and sincerity, as they are both subversive while being celebratory. Combining sure sex toys (banned in India ) with fabricated leather whips and high-Swarovski crystals, the sculptures interrogate patriarchal power centers and the utilize of religious fundamentalism to mask capitalist and patriarchal strategies. She upsets the notion of male person dominance past placing the phallic objects inside a larger triangle or Yoni – making the female shape as important and dominant as the male. Other sculptures using many of the same materials interrogate other complex power dynamics, such as a piece titled Roe Vs Wade , named later the US law allowing women to have abortions or the installation made of whips titled Allahu Akbar using the Kufic script from the Iraqi flag of 2008.
Finally, UK'due south Sutapa Biswas explores the themes of time, history, gender, race and man condition through her works. Her strongly poetic and visually resonant works derive influences from a wide range of sources including film, art history, literature, and psychoanalytic theory. Her drawings are evocative of her enquiry into the psyche of the feminine subject, and the daily rituals of domestic life. She works in the medium of drawing, painting, film and video that accept an uncanny ability to halt the viewer in their tracks.
Says Sutapa Biswas: "Though much time has passed since my journey from the country of my birth to a country that is now my home, the circuitous relationship that has existed betwixt these two places for centuries now, has given mode to a sure verse that belongs to both of them, which inevitably has consequently entered my psyche. I would too point out that if nosotros as human beings are to be read but as the sum total of the places we inhabit with rigid linearity then the richness of thought and the poetics of infinite, time, and experience cannot be fully appreciated. In brusque, we would either presume likewise much or too little."
Indeed, a must-visit show with alternate and culling sensibilities every bit seen through the eyes of women far autonomously in space yet connected through their art!
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