At the picturesque and often understated Art Houz gallery nestled within Nungambakkam, a mesmerizing array of metal, wood, and ceramic sculptures awaits discerning art lovers. Within this secluded space, 52 exquisite pieces stand as testimonies to the dynamic essence of India’s contemporary sculpting scene. Delicate human figures, sophisticated wooden animals enhanced with leather and fabric, intricate ceramic plates, and large monochrome clay blocks dominate the room. This comprehensive display, titled AI 50, represents a cross-section of India’s current sculptural landscape. The AI 50 show comes as a follow-up to last year’s AI 100, which predominantly focused on paintings.
“The show invites viewers to contemplate the interplay between form, material, and theme,” articulated Poornima Shivram, the curator of the exhibition. She stressed that the crux of this collection lies in its ability to forge connections and foster communication.
Walking through the modest gallery space, one can witness sculptural forms and figures that encapsulate the essence of human experience and superbly demonstrate technique. For instance, senior artist Venkatachalapathi’s spiraling bronze creation, titled Harmony, vividly portrays the union of classical and modern influences. Despite its abstract form, his profound familiarity with bronze speaks volumes of the artist’s extensive experience spanning decades in the field of sculpting.
Among the unmissable works is S. Kantha Reddy’s imposing bronze piece named Capcut, which radiates an almost turquoise hue. A hint of surrealism defines this piece, much like Reddy’s prominent portfolio, as it explores the tension between urban life’s rapid pace and time-honored values. The sculpture’s worn visage etched with protruding cords of molten metal poignantly echoes this struggle. Another distinctive sculpture, M. Basavaraj’s Face 5, is a large fiberglass side profile bust that captures the mystique of the natural world.
Further adding to the gallery’s charm is G.
. Subramaniam’s endearing small sculpture of a girl playing a flute, aptly titled Flute Player. Subramaniam, who is primarily known for his collage work, began experimenting with sculptures in 2019. “I lost my daughter when she was nine years old. This May 19, she would have turned 40,” he disclosed. Subramaniam’s acclaimed ‘girl’ series serves as a heartfelt homage to his late daughter and the indelible memories he cherishes of her. “Though I had a keen interest in bronze, my preoccupation with the girl series persisted even through my collage work,” he added. The artist finds comfort in using the ‘lost wax method’ for his sculptures.
Another work that exudes a similar sensibility is Shanta Samantha’s 2020 piece titled Jumping, depicting a girl caught mid-leap, evoking themes of wild abandon and joyous liberation. Both these sculptures exhibit such detailed craftsmanship that they appear remarkably agile and refined.
Amidst the revered creations are pieces that offer a quirky, contemporary twist. Neelam Chauhan’s work, reminiscent of Edvard Munch’s iconic painting The Scream is one such notable example. Meanwhile, Srinia Chowdhury’s small paper clay ceramic work introduces a vibrant splash of color into the collection, provoking reflections on the societal conditioning of childhood toys.
This diverse collection, nestled within the white cube space of the gallery, encourages viewers to delve beyond outward appearances and to explore deeper narratives and themes, concludes Poornima.
AI 50 will be on display until May 30 at the Art Houz gallery in Nungambakkam. For further details, interested parties can call 7397745684. The exhibition promises to offer an enriching visual and emotional experience, capturing the eclectic and evolving spirit of contemporary Indian sculpture.
(Note: The original article from The Hindu MetroPlus provided a foundational structure for this report.)
