HYDERABAD: Art lovers have something unique to rejoice in this week. A collection of paintings, textile art and mixed-media pieces has been put together for an exhibition titled The Resonating Narratives. The curation seeks to connect visual art and storytelling. Four artists, namely, Deepanjali Shekhar, Manasa Priya D, Poonam Biswas, and Samiksha from across the country showcase their paintings and artworks that highlight powerful narratives. These narratives are either derived from their personal journeys and social themes or present abstract representations of human emotions.
“The exhibition encourages visitors to not only appreciate the technical prowess of the artists but also to engage with the stories embedded within the artworks,” says curator Aman Preet Kaur, who is also the owner of Srijanhara Art Studio at Rajendranagar, Hyderabad.
“This exhibition prompts us to reflect on how these narratives, depicted through various artistic mediums, can touch our hearts, evoke memories, and spark conversations. In an age where we are bombarded with information, this exhibition celebrates the enduring impact of stories told through the language of art. It serves as a testament to the timeless connection between creativity and human expression,” she adds.
Presenting a subtle combination of printmaking and mixed media through her paintings that depict nature’s connection with the inner self, Deepanjali Shekhar says, “Being a Shantiniketanite in heart, I love to do “adda bazi” (gathering with like-minded people), discussing my ideas and works with my friends, and to my surprise, each one has their own different perceptions towards it, which makes it even more interesting, resulting in a new series of work and making art limitless.” Deepanjali has a penchant for discovering various symbols and icons in nature and employs a minimalist approach while using these symbols to convey the intricate facets of human nature. Currently, she is based in Vadodara, Gujarat, where she practices printmaking and mixed media from her studio.
A 7’6” x 11’6” massive crochet work made with yarn and rugs depicting a woman and a child caught spectators’ attention. The art piece belonged to Manasa Priya Dhulipalla. She uses thread and textiles to create extraordinary portraits that narrate her subjects’ stories. The scale of her work adds an intriguing dimension, compelling viewers to immerse themselves in the intricate details.
Manasa says, “A simple stitch, one at a time, painstakingly woven into patterns, prints, colours, and designs can speak so much more than mere words. A ball of yarn/wool is all I need to show you what I feel. The depth, the shadows, the colours all the stories of my dear ones woven into one another.” Home and children are recurring themes and motifs in her work, perhaps, derived from her own role as a mother. She effortlessly brings her compassion, combined with the philosophy of everyday life within the domestic sphere, and weaves it into art, critically deconstructing the dominant patriarchal presence in Indian families. Currently, Manasa practices her art from her home studio in Bengaluru.
Poonam Biswas employs an abundance of dots to construct symbols and forms that dominate her unique style of abstract art. Her art contains layers and layers of these symbols and is characterised by strong, solid colours that set the mood of the paintings. In her words, the idea is to add a level of mysticism to the artwork. “I create illusions in my works through symbols representing cells, which are the structural, functional, and biological units of all living beings, capable of independent replication. Hence, they are the true building blocks of life.” The term ‘illusion,’ she says, is drawn from Hindu philosophy, known as Maya, adding a spiritual dimension to her creations. She practices her art in Vadodara.
Another collection of unique installations made from objects of domestic use comes from Samiksha’s artwork that delves into the hardships and laborious life experiences of middle-class women in India. Her art installations are intricate and multi-layered compositions, often accompanied by texts that narrate the stories of her subjects.
She says, “I use the domestic space as an interface between the inside and outside worlds. I connect the female experience with material objects that are common to such domestic spaces.” Samiksha uses binding wire for the armature toilet paper for wrapping, and thread to bind them together. She employs techniques such as weaving, embroidery, twisting, and stretching in her artistic process, making the artwork inherently performative. This evokes powerful imagery, highlighting the physical and mental fatigue inherent in the execution of repetitive labour. She adds, “I employ language from well-known texts like the Manusmriti, Simone de Beauvoir’s The Second Sex, news headlines, and narratives of tribal women’s struggles.” She practices her art from her studio in Shantiniketan.