Review of the exhibition during Pune Biennale 2017 with the nostalgic re-presentation of Pune’s celebrated artist’s studios.
Re-presentation in the world of visual arts has become a convoluted term, trying to mean many different things at different moments. However, the term used here is with its primary meaning of presenting again. The re-presentation of observed studio-based practices of visual artists belonging to the diverse genre, falling in the frame of yester centuries. The exhibition Art Space and Props formulated by the Pune residents, artist Nitin Hadap, designer Pramod Riswadkar and graphic designer Abhay Joshi during the Pube Biennale at Pt. Bhimsen Joshi Kaladalan, displays a well-researched perception of the artists’ studios who have been a significant part of the evolution of visual arts in Pune. The re-presented studios belong to the artists hailing from the baithak systems to the modern styles viz. court painter Gangaram Tambat, academic painter Gopal Deuskar, painter and ceramist Bal Wad, photographer W N Bhat, academic sculptor Dattatray Khatavkar, and modernist Vijay Shinde.
The exhibition format is an educative one with apt infographics and supplementing visuals along with the keenly arranged central studio booth setups belonging to each aforesaid artist. The exhibition makes good use of current printing and installation technology to justify the descriptive yet insightful research performed on the habitational activity of studio practices. It is indeed a challenging job to weave a story that evolves over a long period of time, with several socio-economical influences, and most importantly the unique style of each artist.
The curators’ primary objective was to create the ambience of the working studios. “The aim is to provide the spectator information related to props space and ambience under which they worked. Our endeavour was to furnish a view which provides clue about these interactive aspects and elements with an integrated approach while taking a note of visual forms.”, says the trio.
One important aspect is to make the distinction between the seating and standing posture based practice that informs the work. The standing or sitting posture and gestures have an inherent effect on the work of art. Abundant space is required in the process of creation of abstract art. High level of discipline is maintained while doing a portrait in an academic style. A photo-studio along with studios of painters provided a unique experience. Evolution of Visual Arts of Pune could be noted and studied through the works of the eminent artists who represent their genre as well as the period.
The paintings of the Peshwa court painter Gangaram Tambat (c.1790) trained under the British academic style provide evidence of his mixed visual language reflected from the standard practice of sitting on the floor and making small sized paintings. One may look at Gangaram as representative of his age.
A master of western technique, Gopal Deuskar’s studio presents us with placing the canvas on the easel, working in standing or seated posture, sketching from life, standardised painting procedures along with colour sequencing and such other techniques. His works had a marked influence on academic style. The studio is re-presented similar to the predetermined positions of British style.
Bal Wad having a dual practice of painting and ceramics his studio displays a combination of both methods. With a job experience of serving as an Art Director in M/s Camlin (I), he had acquired in-depth knowledge of material and media.
W N Bhat who owned a professional studio at Laxmi Road in Pune was the pioneering spirit behind starting an educational program in Photography at Fergusson College, Pune. His camera caught the subtle moods of many eminent personalities, such as Pt. Jawaharlal Nehru, Mrs. Indira Gandhi, eminent sitarist Pt Ravi Shankar and lot many others. Thus, it is pertinent to include the studio of a photographer in the timeline of the visual evolution of Pune.
Eminent sculptor popular for his contributions for the festive installations, Dattatray Khatavkar’s studio carried that Fibre-glass which has a slightly pungent smell occasionally. His studio used to be replete with casting moulds, half-done yet to be finished articles, lumps of mixed wet earth and like. He designed on his own innumerable tools and gadgets and crafted them himself.
A deep impression is observed of modernist Vijay Shinde on Pune’s young artists. He created awareness, injected curiosity and developed their understanding of Modern art. His method of creating abstract paintings was a bit complicated. He used to mix paint on pallets using a roller for getting the desired effect. He gestured his body in a specific manner for large strokes on canvass and balanced technique and unimaginable effect. He used to spread his canvas on ground and paint.
The curators behind this notable display adorn positions of significant academic importance. Nitin Hadap is an artist and HOD of Fashion Designing Department, MNVTI, MKSSS, Pune; with a specialised interest in Indian Art History and the History of Modern Art. He has a Ph.D. in archaeology on the subject ‘Composite Motifs in Indian Art’.
Pramod Riswadkar is a designer by profession, with professional experience in the industry as well as academia. He has worked with several industries and was associated with Symbiosis Institute of Design, as HOD (Communication Design).
Abhay Joshi is a practicing graphic designer with a wide range of experiences in print-media spanning more than two decades. He is associated with MKSSS – Manilal Nanavati Vocational Training Institute for Women, Pune as a Visiting Faculty.
With the first step of this exhibition conducted during the Pune Biennale, the trio intends to expand their research and incorporate wider dynamics of the studio practices regionally as well as conceptually.
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