India Art Fair 2018

09 Feb – 12 Feb 2018

Jhaveri Contemporary is delighted to return to the India Art Fair with seven artists from its core programme, spanning generations, nationalities, and media. The stand will include tapestries, wall-mounted sculpture, large photographic and ink prints, ceramics, and painting to collectively consider ideas of landscape, architecture, memory, and belonging.

Through her tapestries, Monika Correa explores the limitlessly diverse patterns and textures of nature. In Purple Rose of Cairo (2013), she refines the concept she has been developing over the last decade: to remove the reed at a certain juncture in the weaving process, so that the warp threads can meander freely. This introduces three-dimensional optical illusions, as well as an extraordinary sense of freedom and happenstance into the tapestry.  

Manisha Parekh continues to explore an exclusively abstract language that is both geometric and organic. Rainbow Bite (2017) is a new suite of gestural ink paintings, exhibited at the fair for the first time. 

Concerned with the experience of mapping – and indeed the mapping of experience – Travelling Light (2017) by Simryn Gill consists of direct relief prints of sprouting coconuts that spout fire in red and yellow inks. Alongside is Windows (2011, 2017), a large photograph of an abandoned housing estate in Malaysia, a site the artist has engaged with over decades. Here, Gill turns her camera to look outside hollow window sockets, stripped bare of their metal frames, which appear as rectangles punched out of the cement walls. The outside views variously show glimpses of sunlit sky, surrounding abandoned structures, and foliage.

Lubna Chowdhary’s practice ranges from commissioned architectural work to spatial installations and sculptural objects. Chowdhary balances technological and manual techniques, assimilating ideas and aesthetics from both East and West. Low on the horizon (2017) operates somewhere between sculpture and painting. It consists of flat shapes – part signs, part diagrams – arrayed on a shelf and glazed with colours and a finish that recall mid-century architectural ceramics. Blueprint (2017) is a group of 28 3-D objects presented as a clustered group on a low table. This cityscape references informal, hybrid architeture of Asia and Africa with high modernist and industrial buildings.

Drawing inspiration from the heritage and ‘archives’ of modernist architecture and sculpture, Yamini Nayar builds imagined structures from found and raw materials and photographs them before destroying the tableaux. The environments that Nayar constructs loosely allude to both specific landmarks, such as Frank Lloyd Wright’s Johnson Wax Building, and generic spaces—a midcentury living room, say. Works like Alterns in the Overgrowth ( 2017) are absented of people and appear psychologically freighted, often with distorted perspectives that address aspects of personal and collective memory. Nayar describes her works as “spaces that question the iconic in photographic memory, where found images are pivot points for imagined, alternate structures.

Rana Begum’s practice combines childhood encounters with Islamic art, architecture and ritual practice in Bangladesh together with visual cues gathered from the streets of London. Like much of her overall practice, Begum’s beloved ‘folds’ on display resist easy categorisation: they contain elements of both sculpture and painting, pushing the relationship between colour, form, and three-dimensional space in new and exciting ways.

Finally, we are delighted to introduce a rare painting by Mohan Samant. An eccentric and important Modern artist, Samant’s paintings are a marriage in diverse materials. Unlike the medium-specific practices of the Progressive Artists’ Group, Samant embraced post-modern practices: his picture surface is a multi-layered montage and his influences are wide ranging, from prehistoric cave paintings and Egyptian funerary wall drawings to African masks and Indian miniatures. The 1980s is a pivotal decade for Samant, when he perfected his folded cut paper construction of which The Fireside Camp (1980) is a wonderful example.