Li Tian Bing - Me and My Brother in the Hospital N.2 |
Art Plural Gallery is presenting a very interesting new exhibition, Regards Croisés: a selection of Asian Contemporary Art, running until Dec 19. It features eleven up and coming and influential artists from China, India and Korea, along with works by Fabienne Verdier, who has been trained in China for more than ten years.
Jagannath Panda |
I loved the works of Indian artist Jagannath Panda who uses a collage technique to incrustate brocate fabrics in his works to create the skins of beasts, feather of birds or mimic foliage.
Panda’s portraits of the burgeoning new city of Gurgaon (where he lives and works) illustrate the tensions to be found there, as over-development threatens natural habitats and infrastructures prove to be inadequate even before they are completed. Photos really don't render justice to the rich texture of his works.
Another interesting work is a haunting picture by Li Tian Bing (above), who mines his childhood memories to create a new reality. While Li uses old photographs as the source of his works, mimicking their blurred focus, his work is not Photo-Realism, because the only-child artist inserts in his photo a fictional brother, reinventing his own personal history.
Feng Shuo |
Lochan Upadhyay |
The gallery has also installed at the entrance the imposing and colorful Wedding Chair by Indian artist, Lochan Upadhyay. The chair is unique to the marriage ritual for brides and grooms of the Vagad region in Western India. The iron, wood and foam assembly bound under colourful pieces of fabric symbolises the social structures that the peple there have established - a reminder for people to always be fully conscious of the societal construct that they live in.
Thukral & Tagra |
Thukral & Tagra |
Upstairs, two new works by Thukral & Tagra deal with the issue of AIDS, using their usual mix of graphics and humor... (look closely at the details)
French artist Fabienne Verdier presents some beautiful, minimal abstraction with a touch of calligraphy art.