Manish Pushkale investigates the resonance of the Great Andamanese society

Artists are sensitive absorbers of the human body\’s automated process, forming their own linear odyssey that reflects chaos and order. Physicists attempt to formulate this inflow from the materiality of nature whereas philosophers intuit it from her intelligentsia. The body is a receptive instrument of this inflow and artists, physicists and philosophers trace this flow through the dimensions of the mind. These words from Jesal Thacker itself explain her vision in naming the show and her curating skill.

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Flow Inflow is a group exhibition featuring the works of artists Manish Pushkale, Priya Sundaravalli, Sumakshi Singh, and Smriti Dixit. The show examines the wide variety of actions one is compelled to see, perceive, feel, memorise, and communicate through our sensory organs by bringing together diverse works from each of the artists. The visual experience highlights nature\’s inherent tactile texture in its purest form and weaves it into composite shapes and hues.

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In the show Flow Inflow, Through a series of one hundred canvases, Manish Pushkale investigates the resonance of the Great Andamanese society, whose ancient language has been lost. The loss was not just of a language, but also of an entire cultural discovery and growth, encompassing anthropology, linguistics, history, psychology, and biology. Manish examines the fundamental nature of language, which is currently fractured but, when searched, exposes its magnificent script, via this series of 100 canvases as well as the others.

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The way Dixit works is straightforward and unreliable. She uses a variety of fabrics and thread to adhere and sew her arrangements on a plain surface. She typically aims to convey to her audience the concepts of rebirth, recycling, and renewal by celebrating the human processes of exploration and innovation. Priya combines opposites like asymmetry and balance, chaos and harmony, and attention to detail to achieve completeness in her work. For moving outside of oneself to perceive intangible characteristics like emptiness, quiet, translucence, weightlessness, and the vibratory fields of matter, texture and rhythm are crucial components.

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The theme of Synonyms 1 and 2 by Sumakshi Singh is the transition of reality from its flimsy, organic shape into a network of networks that supports the form, rendering it a picture of ethereal temporalities. Images of plant shapes are manifested in the overall structure by the convergence and knotting of threads from the ethereal backdrop like a web. As a representation of nature, one can see collages of genuine dried plants and their thread-image equivalents floating on the internet. The organic, delicate, and natural shapes would eventually disintegrate, releasing their temporality to leave an ethereal impression on the web.

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In the show, you can experience Manish Pushkale\’s large canvas, the pictorial exercise on the immediate significance and the very essence of human existence. At the same time, Smriti\’s pigments consist of swaths of cloth in an arrey of textures and colors. Priya\’s work seeks wholeness through the unity of opposites – asymmetry and balance. Sumakshi\’s \”Simulacra and Simulation\” begins with a reference to a Borges story in which the cartographers push themselves further and further.