3 feminist artist voices, and a watercolour whiz

Richa Aarya: A remarkable voice for women bound in regression

Rustic roots in the small Haryana village of Samalkha provide identity and purpose to the creations of powerhouse young artist Richa Aarya, who gives a voice to the struggles of women in regressive environments. Her art gathers heft from lived experiences, and its impact is woven deeply and innovatively into the pieces she brings to life via elements like wood, iron, steel and more, interlaced with stitching that embeds patterns of beauty into symbols that often hide social ugliness. Take her series of art pieces titled ‘Conceal Pain’. In one, utilizing iron, steel and stitching on iron sheet, the artist manifests a woman’s blouse. It is a functional piece of clothing, short-sleeved, minimal and with a single (rusted metal) ‘thread’ tying the open back together; small flowers form embossed motifs on the bosom and sleeves, and the latter are placed akimbo — all in all, it comes together distinctly like an armour, a thing of charm and innocence that at once symbolizes the harshness of the environment that requires it. Another under the same title is a child’s sweater, or that of a young, small person — the artist’s delicate eye for detail is visible, and the piece — made of wood, iron, brace, steel and stitching on iron sheet — incorporates an aesthetic balance of shine and dullness. Richa has also remarkably rendered a sanitary napkin under the same series in this way, keeping its body embedded with patterns wrought in rusted iron — an incredibly layered piece of art. In ‘Lack of Choice’, using wood carving and brace stitching, an eerie depiction presents itself — a large stone with a hand print embedded in it rests above numerous smaller pebbles with tiny hand prints on their surface. Their presence is at once like the gesture of a stop sign indicating danger, and at the same time reminiscent of desperation, as if the imprint hung on, trying to make a connection.

Nayana B: Weaving important social narratives into art

Distinct and undeniably important dialogues on the environment and feminism are subtly woven into the artworks spun by Nayana B. Her insight into the kaudhi (quilt making) culture of Karnataka forms a common and prominent theme in her artworks, and works as a reminder of an activity that brings a variety of womenfolk under one umbrella to create beauty. A commentary on social structure forms a binding thread in the art she depicts, and the motif of a colourful, eye-catching patchwork quilt imbued with myriad patterns is a ubiquitous pennant in the paintings, brought to the fore through the mediums of acrylic on canvas or paper. While intricate textile work is usually prominent on the canvas, another common motif is a botanical element, whether dense green shrubbery or solitary sprigs of leaves unexpectedly making their presence felt. In one of her untitled works, for instance, a landscape emerges, as if built onto a stage set, surrounded by dark shadows along the frame. Yellow dunes reminiscent of desert topography dominate the background, and a homogenous stream of bright blue cuts the canvas; on it is pitched a tent, with a solitary branch growing a leaf peaking up behind it, its doorway shadowy and invitingly open. Nearby, a flowing carpet of green melts into a stark red foreground in a stream-like fashion, supporting a miniature yet confident tree — behind the green is the artist’s patchwork quilt motif, almost like a supporting base that gives it direction and flow. One could even describe some of her work as reminiscent of Dali-esque landscapes, telling a story of sorts that is replete with bleakness, phantasmagoria and yet unshakeable clarity that binds it all together visually.

Kanika Shah: Vivid contemplations of womankind

Armed with degrees that honed her talent for painting and printmaking, Kanika Shah is a versatile artist who dabbles in traditional and mixed mediums, including woodcut, watercolours, gouache, graphite and tea wash, natural pigments on wasli paper and acid free paper. Her preference, however, veers towards woodcut, the artist confesses, which allows her to opt for a reverse process from dark to light and indulge in more colorful, bold lines. The depiction of her work is as vivid and distinct as its intent. It unravels the desires and transitions of a woman’s life, all the while tracing the unveiling of her inner self. In a realistic series of woodcuts, Kanika’s main subject is a woman — her exaggerated features are fearless, as is the lack of hesitation in conforming this feminine figure to popular notions of beauty. The thickness of her thighs, the mild sag in her bosom and her unapologetically loud features are endearing, as is her neat, almost ladylike hair and attire. In two artworks titled ‘In My Wonderland’, this female figure sits in one amid nature in a pink dress in a relaxed pose, legs folded, with a pearl necklace in place on her neck. There is verdant greenery and scarlet flora in her background, depicted in bright, vibrant hues. In the other, she lies back on a pillow in bed, in a room with wooden slat walls that have flowers embossed into them, her hands almost as if they are covering herself slightly, although her expression is completely open and fearless. In ‘Cherries on my bed’, you see a similar young woman, lying back on a faded, lace-lined yellow pillow on striped blue-yellow sheets. Her hair morphs into bright red blooms, or even small fruit or petals, streaming off the canvas neatly, while her eyes remain closed in deep sleep — a somnolent view that lulls you into calm, while subverting a flurry of symbolism into its soul.

Hem Kumar Topiwala: Wielding mastery of light and shadow

A young artist hailing from Belgaum, Hem Kumar Topiwala has a measured, almost masterful hand with watercolors. Professing to capturing memories in his paintings — especially of elements that are soon to disappear, almost like an artistic sigh trapped in history — Topiwala particularly enjoys showcasing the interplay of light and shade in his art works. This is a charming and consistent motif in his paintings, and there is a moving calmness in the moment that transcends onto his canvas, rendered with a clarity of brush strokes that sets him apart, be it in settings like the Himalayas, or Shahpur, or even Vietnam. Take for instance watercolour titled ‘Car’ — it’s a nondescript street in what looks like a small town, juxtaposing this rustic sleepiness with elements of mild urbanity. It appears to be a quiet holiday morning, or perhaps even a sleepy afternoon, and a tiny street can be seen lined with cars — a hint of modernity among otherwise old-world houses, with shingled roofs and paint-chipped walls. Almost invisible puddles line the shadowy bits of roadside, while a far-off pedestrian or two ambles along. One nearly squints with the brightness of sunshine hitting the walls of the homes, affirming the expertise of the artist. Another watercolour oeuvre titled ‘Hampi’ is just as majestic. A grand heritage courtyard in the temple ruins, with detailed paving, and birds in the open sky above indicating its scale. It is a historic moment in time, with the beauty of the ancient stone chariot sculpture pulled by lions dominating the foreground all cast in a hide-and-seek of light and shadow that does not dominate, but simply enhances the vision.