- Prelude
- Editorial
- Manjit Bawa
- Husain's Calcutta
- Vivan's Visionary Reconstruction of History at Victoria Memorial, 1998
- The Remaking of Indian Painting
- Picasso Re-visited
- Benodebehari Mukherjee: A Recluse and the Centenary Show
- In Past and Present Continuum Speaking to Thota Vaikuntam
- The Importance of Being Husain
- Image-making to Image-circulation: Implicated Image(ry)
- 153 Years Old yet Young at Heart: Mumbai's Sir JJ School of Art
- Two Decades: A Critical Insight by an Art Critic and an Artist
- Biedermeier Style: Biedermeier Furniture
- Vacheron Constantin
- The Irony of Andy Warhol
- Then and Now: An Indian Perspective to the Art Market 1990-2010
- Pablo, Andy, Here I Come
- What Happened and What's Forthcoming
- Bid's Got Hammered?
- Anish Kapoor at National Gallery of Modern Art in Delhi and Mehboob Studio in Mumbai
- Tribute to Hemanta Misra: the “Calcutta Group” Painter
- Art Events Kolkata
- Mumbai Art Sighting
- Art Bengaluru
- Exploring the Riverine Culture of Bengal
- Alternative art practices define Bangalore
- India Art Summit Turns Three
- An Aesthetic Fair
- SSVAD: A New Arts Centre in Santineketan
- Visible Invisible by Siraj Saxena
- A Fleeting World : Paintings by Sunil De
- Previews
- In the News
ART news & views
A Fleeting World : Paintings by Sunil De
Volume: 3 Issue No: 12 Month: 1 Year: 2011
Listings
Aakriti Art Gallery
January 12 to January 29
| The current enthusiasm for cool, distanced conceptual strategies threatens at times to transform abstract painting into a purely cerebral understanding. Sunil De reminds us of the pleasures to be found in visual seduction. His abstractions are pulsating markers woven from whiplash lines, coloured fields and an occasional sweep. They glow with an inner richness and trembling of the soul while incorporating the shadows behind them as part of their careening, shifting energy. He reminds us that the progression of a painter's work is toward clarity, toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. He gives as examples of these obstacles: memory, history and geometry. These works suggest a passage of time for Sunil, an extremely precocious painter in his early years, both in time, his own evolution and the body he produces. The dynamism in the present series is a subtle indication of changed circumstances. Sunil's paintings their power and mediate upon the final disjuncture between consciousness and the physical world, upon the irreducible commensurability between thought and experience. He pursues a development that is at once instinctive, sensuous and fluid. |
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