BENGALURU: In the art world, some names become synonymous with movements or distinct styles. Sculptor and printmaker Krishna Reddy is not one of them. His work defies easy categorisation, and his place in art history resists neat definition. Yet, for those who encounter his prints or sculptures, Reddy’s work feels like an open door: an invitation to wonder, to question, to continue exploring.
At the Museum of Art and Photography (MAP), Kasturba Road, the exhibition Rhyme Unbroken seeks to open that door wider, offering a glimpse into Reddy’s multidisciplinary world. Running until January 5, 2025, the exhibition marks the centenary of Reddy’s birth, offering a contemplative insight into a man who was always learning, always searching for the next question.
Curated by Arnika Ahldag and Kuzhali Jaganathan, the show brings together 42 works, each presenting a different perspective on Reddy’s life and art. However, as the curators emphasise, this is not a conventional retrospective. “Reddy himself often spoke about how being an artist means being a lifelong learner, maintaining a childlike curiosity,” says Ahldag. “The exhibition is interspersed with quotes by Krishna Reddy, relating his often very philosophical thought to his work.”
Born in Nandanoor, Andhra Pradesh, in 1925, Reddy was part of a generation of Indian artists who broke away from tradition, searching for new forms of expression. He trained at Santiniketan, the institution founded by Rabindranath Tagore to foster a closer connection between education, nature and the human spirit. Under the guidance of modernist pioneers such as Nandalal Bose and Ramkinkar Baij, Reddy learned early that art was more than technique – it was about seeing the world differently.
In the 1950s, Reddy moved to Paris, a city alive with creative energy in the aftermath of World War II. There, he connected with Atelier 17, a studio led by the revolutionary printmaker William Hayter. At Atelier 17, Reddy co-developed viscosity printing, a technique that allowed artists to layer colours in ways previously unimaginable. “Krishna Reddy’s contribution to printmaking, particularly his collaboration with William Hayter on viscosity printing, is a key focus of the exhibition,” says Ahldag.
“His techniques revolutionised the medium by allowing for a deeper, more complex layering of colours and textures on a single plate. At the same time, they combine sculptural aspects (such as the making of the metal plate) and drawing in preparation for the plates.”
Reddy’s time in Paris was not solely about technique. He crossed paths with artists such as Alberto Giacometti and Joan Miró, immersing himself in the city’s vibrant exchange of ideas. His work grew increasingly abstract, moving away from representational forms towards something more elemental and universal.
A notable piece in the exhibition is Demonstrators, created in the wake of the 1968 Paris student protests. “Yet none of these artworks is a representation of what he saw, but more about how they made him reflect on the state of humanity,” Ahldag explains.
What does Rhyme Unbroken mean for contemporary audiences? For some, it is an opportunity to discover Krishna Reddy for the first time. For others, it serves as a reminder that art is not always about providing answers. Sometimes, it is about asking questions – questions that span a lifetime, cross mediums and traverse continents.
“I believe that Krishna Reddy’s work is quite timeless,” says Ahldag. “He was spiritual without being religious, he was a teacher without being didactic, and he viewed teaching as a process of mutual learning. He wasn’t interested in nationhood. I do think these ideas deeply resonate with audiences today.”