Presence in Absence

Human life is an intimate reflection of the great cycles of nature, universal, perennial and all-pervasive. Of most significance to us here on earth are the sun and moon, their locus and path in the sky, linked to the arrival, change and departure of the seasons – all existence on earth depends upon this eternal, unstoppable and regular movement that is a manifestation of reet, cosmic ‘truth’ or ‘order’.

And they occasionally unite through dramatic superimposition, as in the radiant shock of full eclipse when day is transformed into night. It is all one process – expansion and contraction, dispersion and compression, emanation and dissolution. Priya Ravish Mehra aesthetic is a symbolic affirmation of the place, significance and act of existential ‘repair’ in the corroded fabric of any life, as well as in the life of any corroded fabric.

Weaving Land

Concerned with the metaphors of material, Pranati sutures a web of images; some speak of the death and
ransience in nature, while others evoke movements of insects, birds, flowers. Hand drawn, embroidered
and painted upon, the paper and fabric sometimes becomes a soil like surface with microcosmic insects
crawling over it, Her works seek a balance between the inner and outer worlds, between proximity and
distance, and between nature and human life. 

Pranati Panda studied BFA at the College of Art and Craft, Bhubaneswar and did her MFA at the Delhi
College of Art. Her paintings offer meticulous detail, with easy flowing lines and interesting textures and
motifs. Panda has participated in several group shows, and was awarded the Orissa State Akademi Award,
1993. She lives and works in New Delhi.


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Blue print 12

Pala Pothupitiye confronts issues such as colonialism, nationalism, religious extremism and

militarism, and extends his inquiry to questions of caste, the distinction between art and craft, tradition and modernity, as well as generating a critique of Euro-centrism. He works on government maps and old colonial maps, sometimes merging them to create new cartographies. Pala conceptually treats maps as two-dimensional surfaces, which he can use to bring attention to lived experiences of these inscribed spaces. These alternative cartographic exercises talk about memory and its erasure, identities and their discomfiture, the 30-year war Sri Lanka experienced and its postwar complexities.

Exhibits 320 in collaboration with Blue print 13 present the sole show of Pala Pothupitive.