A unique blend of the three master’s distinct style the exhibition meets on one common ground of innovation within existing frame-works.
Binoy has looked at his photos over time—and it is more an attempt to document artworks in storage, in transit, in the process of installation or de-installation—and for Binoy to decide he could go further. The results are compelling in a number of ways. Ideas about public and private, about the inelegant backstages of a world that craves slick presentations, come to the fore. The displayed forests of foliage invite you to view it as the world. The placement of the composition, accomplished with intent but without an over-mindful design, provide a bit of Zen intrigue. And of course there is the exhilaration of the sheer scale.
The presence of moods that Farhad depicts is set in a background of vivid, cerulean blues and evocative vermilions and pinks. Farhad’s rounded yet flattened rendering of the human figures and familial ties clearly reflects the influences of Cubism, though his colour palette remains vibrant and pure, which infuses the works with a playful yet poignant spirit. Furthermore, Farhad’s method of mark-making by scratching into the paint rather than adding to it references a sort of primitivism and universality that is often associated with nature. The humans that inhabit his frames are transformed into creatures of great contentment and candour-poised, timeless and wise in a world that is filled with contradictions and conflict.
It wouldn’t be erroneous to state that George Martin’s works are a spectral summation of lush colour. He paints a magical view of the world around us, which appears to be spinning at a dizzying speed. His acrylic abstractions exuberate copious amounts of energy and are an ultimate representation of modern urban life. There are no limitations to colour or form in Martin’s visual extravaganza; in a single canvas he is able to merge multiple cultures. However, when viewed more carefully, Martin’s densely populated compositions resonate the transitory and disunited true nature of our world.
In the heart of the posh confines of South Delhi, ‘Polka – The Art Gallery’ has established itself as one of the few trademark galleries blessed with an immaculate profile. Be it their inexhaustible art bank contributed to by some of the most noteworthy names in the field, a passionate team of dedicated experts and, most pronouncedly, two strikingly positioned galleries.
Making strides across the art segment of India, ‘Polka’ has won the patronage of several global masters from different fields. Be it luxury mogul Bentley or financial giant ICICI, all chose to associate themselves with the flawless profile and coveted niche earned by ‘Polka’ over the last few years. ‘Polka’ recently opened the doors of its flagship gallery to its adoring list of select clientele; adding yet another applaud worthy mentionable to an already flourishing profile. Nestled in the heart of the capitals most sought after residential locale, sprawled over the ground floor of a 1000 square yard property, ‘Polka’ has successfully renewed gallery standards across the country.
By: S. Sarvesh [tab:Photo Gallery]