Going beyond boundaries, with Ravi Kashi

Don’t look for prettiness. Don’t expect to be soothed. For that surely isn’t what you are going to get.

Expect the unexpected. To be jerked out of complacency.  To be bereft of speech.

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I would say that Ravikumar Kashi is perhaps the most adventurous contemporary artist of Bengaluru. His body of work extends across paintings, sculpture, photography and installation.

His current exhibition, ‘Silent Echo’ (at Gallery Sumukha is on until Dec 31, open 10.30 am – 6 pm, Mon-Sat), is an exhibition of installations and artists’ books, and revolves around the ‘object.’ Says Kashi, “One of the main threads that bind these works is an insight as to how objects become an extension of ourselves, retain memory, gain their own persona over a period of time. And when more than one object comes together, they affect and alter each other’s meaning. Five distinct but interrelated pieces of work in the show address the character, historicity, function, and relevance of diverse objects that the artist chooses to build his narratives around.”

The main work ‘Silent Echo’ is a sculptural installation of mesh and paper pulp. Says the artist, “It evokes many of the metaphors of our time where hope and despair ride together side by side”. Kashi handcrafts objects and puts them together with other objects that he finds, creating installations such as ‘Heirlooms of Fear’ and ‘Dark Revenue’.

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Kashi has won the Kannada Sahitya Academy Award for a book on art, apart from the awards given by the Karnataka Lalit Kala Akademi and the Lalit Kala Akademi, New Delhi, for his art. A fascinating aspect of the current exhibition, is a set of ‘Artists’ Books’, called ‘All is always now’Ravi has been creating artists’ books for ten or more years, making the paper by hand and drawing images that are times radical and subversive at times.

These books predominantly have more visuals, and less text, and as a publisher, I found his earlier works ‘In pursuit of happiness’ (a series of water colour and ink on cast cotton pulp) and ‘A thousand desires’ (an installation of a thousand tongues) – a perfect fit for the BEST OF BANGALORE- Innovation edition (Raintree Media, 2014).

Kashi says that he intends ‘Silent Echo’ to be a multi-dimensional experience with a common thread running through it. “The third dimension is provided by two sets of works with photography as the mainstay. The first is a set of four individual photographs called Memorial.’ The second is a photobook called ‘Shelf life. Together, the two explore complex narratives that emanate from ‘showcases’ which are ubiquitous in most middle class homes, and display cases in shops.”

This is not an exhibition you should breeze through. Plan to spend an hour, if not more. You will need it to absorb what you see. It’s an education. I wish schools and parents would take kids to let them see that art is much more than pretty pictures and straight lines, to let them see art that goes beyond boundaries.

 

 

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A soulful of art –tribute to Yusuf Arakkal

It feels like a million years ago now that he gave me a lesson in art appreciation, and this gift has given me immeasurable happiness in the best museums across the world. He also taught me how to enjoy my favourite tipple without getting tipsy.

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“Art is my soul”

Others far more qualified than me have spoken about Yusuf as an artist, this is my personal memorial to an old friend.

I got the news of his death very late. I had slept through the day, after a long travel. That night, I lay awake remembering the many ways Yusuf impacted our lives. On a Monday afternoon, nearly 20 years ago, when I went to pick up my son from Lumbini play school, Gayatri Rao who ran the school, showed me a wondrous sight. After weeks of refusing to colour any drawings, Aditya had spent the whole morning colouring. Realisation dawned as we looked at the many colourful pages.

I was then a columnist for the Times of India, and the previous Saturday had gone to interview Yusuf (in their old home in NGEF colony). I had taken the little fellow along, and while Yusuf and I chatted, he was left to explore the studio and had been obviously inspired by the world of colour.

My interview was about a new series of nudes that Yusuf was going to show; those were days before digital cameras and I needed a visual to illustrate my piece in the column. Yusuf picked up paper and pencil and quickly sketched a small version. I handed in the sketch with my article and retrieved it from the press after the page was made. The lovely little sketch hangs in my drawing room, along with a few other artworks that he took pleasure in gifting us over the years.

Afternoons that stretched to evenings at the iconic Victoria hotel, which used to be his home away from home (where Bangalore Central mall stands);  impromptu Sunday lunches in their new home, the travel tips that both Sara and Yusuf offered (he was a great one for travelling – “Only when you see the world, will you grow”, he told Allen when the latter complained about my wanderlust).

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Yusuf Arakkal, me, SG Vasudev & G Subramanian – catching up after many months at Galerie De’Arts in 2014

It feels like a million years ago now that he gave me a lesson in art appreciation, pointing out what makes SG Vasudev’s work special. And this gift has given me immeasurable happiness in the best museums across the world. He also taught me how to enjoy my favourite tipple without getting tipsy.

He turned out dapper in beautiful jackets picked out by Sara, and good naturedly preened about his likeness to Col Gaddafi. A gregarious soul who loved serious debates as much as unabashed flirting, he was completely at ease with himself.

He didn’t call or visit when Allen died, and it pained me. They were as close as brothers; Yusuf had taken it upon himself to play counsellor to us, advising us about relationships (and me about clothes). And for a long time, like with many others, he too had forgotten me, and Aditya. Many moons later, the phone rang late at night, and the familiar teasing voice spoke. He gave some reason for not being in touch earlier; they were out-of-town when they got the news. Now, he had more pressing matters to speak about; in his usual outspoken way, he was up-in-arms about something, and prodded me to carry on working with the same ideals that Allen had.

We spoke and met a few times over the last few years, and as it is with old friends, the undeniable warmth and easy banter resurfaced. He had attained great fame but he allowed me the privilege of chiding him.

The energy of his paintings is a tangible presence and I was enveloped in it as I sat on the couch with Sara, two days after he died. The world mourns the passing of a great artist. For Sara, it is a loss of a person who sculpted her life. Forty three years is a lifetime, and yet it is not enough. It is going to be a long, hard walk ahead for her. One that I know well, and my heart aches for her even as it does for Yusuf, whose warmth and friendship I cherish.

What a man, what a life. I can’t say adieu as some one this larger than life can’t be forgotten. In a quote in BEST OF BANGALORE (Raintree Media), Yusuf said, “Creativity is God’s gift to mankind, art is my soul”. That is the measure of the man.

Under the Raintree

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Enlightenment is often found under a tree

I visualise Under the Raintree as a quiet, cool pasture of creative pleasure. Under the nurturing canopy of the Raintree, interactions are a sparkling composite of artistic expression and flair.          

It is a place for writers, poets, painters, playwrights, musicians and other artistes to share their ideas, styles and techniques through personal interactions.

Under the Raintree meetings are fairly informal and happen with the help of friends and well-wishers who share similar interests in the Arts. Meetings happen at different places – gardens, living rooms, hotels  and galleries.

I started Under the Raintree  a couple of years ago as, after my husband Allen passed away, I sorely missed the conversations  we had about books, movies, plays, music, art and more. With this non-profit initiative I hope to facilitate dialogue about the Arts.

Under the Raintree has facilitated:

1. The dramatised reading of Anita Nair’s play ‘Nine faces of being’ when it was a work-in-progress, directed by Arundhati Raja of ART.

Arundhati introduces the ensemble

2. A variety entertainment progamme by Madras Players featuring Mithran Devanesan, PC Ramakrishna, Vishalam Ekambaram & Sharanya Nair.PC Ramakrishna, Vishalam, Sharanya Nair

3.  Discussions on ‘Art & the City’ with Kiran Mazumdar Shaw, CMD, Biocon & UA Vasanth Rao of BMRC, and a panel discussion on ‘Artistic Connections’ with Ravi Kumar Kashi, Vikram Sampath, Arundhati Nag, Madhu Nataraj, Pramila Lochan & Arshia Sattar as part of the launch of ‘Vriksha – the life and times of SG Vasudev’.

4. A mehfil of Hindustani classical music featuring an interactive session with tabla maestro Trilochan Kampli & vocalist Kumar Mardur.