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Art Showcase that upload your art work to get maximum of prospective collector in creative community & groups.

Showcase that generates.

Maximise Display, Maximum Prospects…

Art Showcase that upload your art work to get maximum of prospective collector in creative community & groups.

SK BARMAN.

Official Photographer at Incredible India

sangib.barman@gmail.com

Maa Kamakhya Mandir

Mridul Sannyasi

Event photographer

Sannyasimridul@gmail.com

Fashion Photographer..

ansumannath1997@gmail.com

+91-7002-905-662

Active Sculpture experts.

Harsh Madhav

artistharshmadhav@gmail.com

Narendra Dewangan

narendradewangan59@gmail.com

Dharam netam

dharamnetam20@gmail.com

Goverdhan Mandal.

amardhaly86@gmail

Suprabho roy.

thesuprabhoroy@gmail.com

Creation and Destruction are the two ends of the same moment. And everything between the creation and the next destruction is the journey of life!

dharamnetam20@gmail.com

goverdhan92@gmail.com

dipankarkarmakar528@gmail.com

Narendra Dewangan

narendradewangan59@gmail.com

deepakahire024@gmail.com

Chiryu Sinha

+91-9426-277-790 chuartist@gmail.com

Trending..

 impressions

Trending..

loud impressions

imagery

Hirak j Das

+91-7002766181

hklucky143@gmail.com

 “

The Only Photographer You Should Compare Yourself to is the One You Used To Be.

ocean of god

Ashok B. Salunkhe

ab.salunkhe@gmail.com

Goverdhan Mandal.

+91-7561-987-595

Sculpture Simple but loud.

Amar Dhaly

Design
the life you want.

Giving birth and being born brings us into the essence of creation, where the human spirit is courageous and bold and the body, a miracle of wisdom.

amardhaly86@gmail

+91-9088-313-720

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Harsh madhav.

“BEING CREATIVE IS NOT A HOBBY,BUT A WAY OF LIFE”

artistharshmadhav@gmail.com

United in Love, Dialogue and Debate

There is a strange charm that pervades the loving couples – this is what, I believe, people have in their psyche & contemplates dreamy sequences in every moment the lovers live. Thus there is predominance of the images of the male and female duos in my paintings.

Devoid of the quotidian objects and situations, these couples like the traditional ‘Mithuna’ couples seen along the walls of the ancient Indian temple architecture, create a world of their own and remain there as eternally young people in love. There is something romantic about them. At the same time, a deeper look would reveal that they are engaged in a game of power, contest of hierarchies and a debate of genders. As people endeavor to erase the realistic contexts in their dream sequences, thus I tried to erase realistic substances from within these pictorial frames so that everything that happens in our could be located and assessed within the ideal and aesthetic context of my artistic creations.

Hailing from Orissa, instead of falling in love with the idea of love, I had fallen in love with the idea of loving couple. My point of references are the innumerable couples that I sees on a daily basis in the streets, cafes and public gardens of Baroda, where I currently live and work. Even in the deepest of love between a male and female, the microcosmic world of politico-religious and socio-economic struggles manifest in different forms- this is what I try to portray in the visuals; in a way, a couple in love represents the polarities of a macro world. They represent the male and female principles of the higher philosophical and spiritual forms at the same time. It is in their intense bonding through gestures, words and silence, the possibility of a new world is created. And these paintings assert that the solutions for the world conflicts could be sought in the relationship between the male and female human beings.

My vision is not just a homocentric vision. Despite the absence of other organic forms and the presence of the deliberate conversion of the organic into the mechanical shapes, I attempted to reveal the core values of life acted out by the human beings. On the one hand there is a suggestion that the couples make their lives almost insular and bubble like; they do not allow the external world to make incursions in their lives. On the other hand, they position themselves as the citizens of a divine democracy in which none can escape the social linkages with the other. It is in the latter positioning, I have to subtly invest my feelings & ideas in order to create a critique of the contemporary world, camouflaged by the general celebratory mood.

I tried to represent protagonists always engaged in some kind of communication. Rather I’m inspired by the representations of the Hindu pantheon both in the real and virtual locations including the temple architecture, murals and literature. In their constant communion and communication, their gestures get exaggerated. The growing limbs and the multiplying of bodies, though they could be categorized as ‘surreal’, in fact is due to my keen interest in the Indian epics and the depictions from it. Surrealism is a core creative factor when it comes to the depiction of Hindu pantheon in various ways. At times, the woman seems to be dominating the man and at other times the other way round as in these mythological depictions. And most of the times, they seem to be facing each other, gazing into their inner worlds.

The context of divine pantheon is a ‘surreal’ way of mine for camouflaging and transcending the ordinary human relationships into a more ideal and ideological plane. Having spent my formative years in Orissa, I have a strong understanding of the Pata Chitra tradition there. In this tradition, the quotidian and the ordinary are depicted, related and debated through the artistic transportation of the same into the scale of an epic. Even the simplest and smallest thing in the daily life becomes a part of a grand narrative. Not only I adopted this narrative technique from this grand tradition of India but also I tried to incorporate the color and design schemes of the traditional paintings. The physical bodies of the protagonists in my paintings are constructed as per the stylistic details of the Pata Chitra tradition that I as an artist developed the backgrounds of the paintings through the minute depiction of the intricate traditional design elements.

My paintings are the ideal meeting points of the contemporary thought process and traditional skills. As an artist, I try to infuse my art historical knowledge with the traditional narrative techniques. I find a constant in the variables of man-woman relationship seen all over the world today and find variables in the same relationship, which has a constant called ‘love’. Though apparently these works portray the portions of a serious and grand narrative (in a micro level), I tried my best to highlight the irony and humor in the relationship between a loving couple. In my works, I tried to reconfirm about love’s inescapable relationship with conflicts and contests.

As aforementioned, Surrealism is not a modernist technique, I tried to bring in the elements of surrealism in my works because I tried to learn the surrealistic imaginations employed in the creation of narratives, epics and the very notion of love itself. Also, surrealism as a modern art philosophy and movement, has all the capacities to externalize the erotic imaginations of human beings in the most powerful way; the impalpability of the erotic thoughts that drives most of the human beings towards an energetic life, gets palpable forms in surrealistic renderings, with all its extensions and nuances.

Through watercolors, I tried to employ a visual technique through which I could unfold ‘couple’ imagery in fragments and suggestions. These deconstructed images metaphorically suggests how even at the heights of celebrations of relationships things are still brittle and vulnerable. However, mine is not a pessimistic world, where things are always approached with doubt and skepticism. My world is, in fact, filled with people who are bonded in love and its trials. And in this constant dialogue through love, they not only survive but flourish in their lives. My metaphysical realization is that a couple is a thing of beauty and joy forever.

Hrusikesh Biswal

hrusikeshbiswal@gmail.com

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