NEW DELHI: Whether it is the Greek Aphrodite of Milos sculpture by Alexandros of Antioch or the colossal nude marble sculpture titled, David, by Michelangelo, the artistic medium is undeniably provocative, interactive and imposing. But contrary to their artistic grandeur, sculptures are rarely seen in standalone displays. Vidhya Gnana Gouresan, who is the curator of Of Human Heritage, an India-Singapore exchange of sculptural art, understood the importance of this prehistoric medium well. Therefore, in an attempt to bring the focus back on it, she brings thirty artists from Singapore and nine from India to showcase their a range of works.
The exhibition comes under the larger idea of promoting closer ties between India and ASEAN, in collaboration with Sculpture Society (Singapore). “The exhibition is about celebrating the universality of the practice of sculpture-making in general. It is about extolling the fluidity in concept and the inevitable human element between the artworks by artists of both nations,” says Gouresan.
Promoted and supported by Singapore High Commission, Singapore Tourism Board, Singapore Airlines and DBS Bank (of Singapore), the exhibition presents a visual grammar mirroring influences from societies, cultures, religion and ethnicity, among others.
An art form that dates back to the stone age, has since thenchanged in shape and form through the centuries, elucidating the trajectory of human mind and life. From the time of The Venus of Berekhat Ram and The Venus of Tan-Tan, two artefact from northeastern Golan Heights and Morocco, the relevance of sculptures as an art practise has changed. For instance, back in the day, sculptures served religious purposes.
Now, they serve a more aesthetic justification. But one thing remains unchanged—their importance not just in religion but also in art. “Sculpture, as a discipline, offers the art-maker possibilities which make the art piece real, alive or larger-than-life, on levels that are conceptual and physical. Inspite of the prevalence of any intensity of visual and contextual abstraction or formal ambiguity in a sculpture, the three-dimensionality of the art form urges the viewer to expect and search for some sort of a personal, comprehensive, everyday reality beyond the intentional aesthetic expression of the sculptor,” says the curator.
In this show, you see Singaporean artist Adrinana Sambrano’s work in bronze titled, Keep Calm and Contemplate. It’s made with two pieces—a face with semi-close eyes and a pair of hands showing detachment of the mind with the body and contemplation of the world around. Chua Boon Kee’s work titled Thrive is made of stainless steel covered with automobile spray paint which is an abstract interpretation of a germinating seed symbolising new life and vigorous energy.
Conversation with the City by Nyan Soe talks of the relationship between the artist and the city in which he lives. “Since the last two decades, Singapore has been active in installing numerous public sculptures island-wide. Intermittently, Singapore’s museums under the National Heritage Board take the opportunity to host art or heritage exhibitions that include sculpture collections. Sculpture exhibitions are also presented in public parks as well. In addition, members of the Sculpture Society (Singapore) regularly represent their nation in international sculpture exhibitions,” says Gouresan.
Indian artists including Satish Gupta’s Vairochana-The Space Element is crafted in copper with silver plating and enamel work. Rajesh Kumar Sharma’s presents his work titled Joy Ride in bronze. You also see Tarun Maity’s work Green Car in bronze, among others. “Whether you speak of the Indian or Singaporean context, there is a fundamental need to celebrate the very act and art of existence,” she says.
From February 3-March 3, at Art Spice Gallery, The Metropolitan Hotel & Spa, Bangla Sahib Road.