There is unexplainable pain and expression of suffering in Vikrant Bhise’s new work that has been exhibited recently at the Anant Art Gallery. His visual narrative extends its dimensions from cruelty on humanity to the cerebral impact of that in the lives of many. It has always been an issue of castes and socio-political manipulation in our country; Vikrant’s works depict the pain and enigmatic notion of truth in his works.
There is a serene experience of subtlety and human values in all his works. His connection with man’s inner understanding of horror comes out alive as he embarks on a journey of revealing truths, not in terms of proving the superficial connection with the divine, but to seek the self-conscious journey of exploring the ultimate truth. His compositions act brilliantly in order with the scale of his elements; his pictorial planes emerge from the practical imaginations and narratives of human sufferings and our inability to live collaboratively in the world’s largest democracy. His thoughts are deeply rooted in the realization of the struggle to gain individuality and respect as a “free being” in social strata.
His ever-changing approach to exploring the hidden aspects of truth that are shrewdly covered in the clouds of filthy politics and inability to understand “humanity” as a religion; the colours are faded and do not allow one to grasp the bright, colourful canvas because it reflects the colourless life of numerous who are fighting a hard battle to establish their presence. He constructs the pillars of self-prevailing perceptions that knit the visual threads together and give control over the brush strokes, a unique element of self-realization. Figures in Vikrant’s works aim to provide statements that force one to mull over the political scenario in our country. His works delve into the depressing state of an ignored section of society in the metro city of Mumbai.
“The identity of figures often remains silent in the pictorial exemplifications. Vikrant’s works break such inhibitions and empower the figures to reveal their identity. Non-transcendental realms are meant to rupture the normative narrative and impose hegemonic binaries of the public sphere. The works are drawn from memories and archives. The archive mode is personal and comes from available perceptions that may not be confined to the so-called official archive. Constructing contradictions of perceptions of others through visual representation is an objective involving hetudharma in pictorial representations (the concept of hetudharma is elucidated by the great philosopher Dharmakirti of the fifth century CE aiming at understanding the objectives of representation).” Writes Dr. Y.S. Alone in his curatorial note.
Figures in Vikrant’s works inquire about the suppression, generate worldviews on Ambedkar’s philosophy, and create discourses on the personal narratives that resonate well with the imaginary approach of scrutinizing the ultimate truth. The exhibition is divided into four sections exploring themes: Narrative and Subversions; Memory and Archive; Constitutional Democracy, Preamble, and Personas; and Toiling Masses. The show is on view till 8th March.
Contributor
In mild to moderate elevations of calcium, few treatment options may be available in the ED cheapest priligy uk The presence or absence of contrast extravasation was analyzed as a secondary outcome measure