What happens when two artists look at the same world but see entirely different realities? At the intersection of these contrasting perspectives lies Dichotomies, an exhibition that brings together the works of Thrigulla Murali and Anand Saastry, offering viewers a fascinating glimpse into the many contradictions that define life around us. Through automobiles, urban identities and the culture of consumerism, Murali captures the changing aspirations and complexities of city life, while Anand takes viewers into the rural landscape, exploring themes of displacement, alienation and the less-seen consequences of urbanisation. Curated by Dr Rohini Iyengar Vadapalli, the exhibition brings these seemingly different worlds under one roof, encouraging viewers to look beyond the obvious and find meaning in the contrasts between them. Currently on view at State Art Gallery, Madhapur, Dichotomies will remain open to visitors until November 5.
Anand Saastry, artist
I grew up in a village, where I was surrounded by patterns and designs in the soil, houses, walls and farms. We tend to observe nature very closely — the water, sky, branches and the different textures and patterns around us. All these observations were stored in my subconscious mind. Whenever I attempt to create something, these elements naturally find their way into my work. That is where my visual language, patterns and textures come from. The contrast in Dichotomies is between Murali and me. Murali paints urban vehicles, vintage cars and contemporary motorcycles, while my response is quite different. Although we both come from a village background, I migrated to Hyderabad in 2005. Perhaps losing that rural atmosphere and connection is what made me bring those images and memories into my work. We did not really plan to come together for this exhibition. We are very good friends, and I admire his work just as he admires mine. Eventually, we approached the curator, Rohini Iyengar, and that is how the exhibition came together.
Thrigulla Murali, artist
When I was very young, I saw Ambassador cars as symbols of power. Mostly, ministers and bureaucrats used them. However, when I later travelled to Kolkata, I noticed these cars everywhere, particularly as taxis in their distinctive yellow colour. It struck me how the same car could evoke completely different feelings depending on its colour. A white Ambassador and a yellow Ambassador seemed to have entirely different personalities. That observation drew me towards understanding colours, drawings and shapes. Through impressionism, particularly what I learnt from French art, I began to understand how much colour can communicate. I started connecting these ideas with my work. Over time, I also began appreciating the beauty of the Ambassador’s shape. It is a car that was designed artistically, rather than being driven entirely by considerations such as ergonomics or aerodynamics, which influence the design of many cars today. There is something distinctive about its form that I find fascinating. There is a certain ego and nostalgia attached to automobiles. Through my work, I want to offer a slightly witty commentary on our relationship with automobiles and the associations we build around them, especially since they are such an integral part of our everyday lives.