Tag Archives: Artist

I Decided to Paint and Give 100 Ganeshas After COVID Hit the Bay Area

2020 has been a challenge for all of us and will be etched in our memory for our lifetime.

Painting was always on my bucket list and in February  2020 I decided to enroll in art class. But as luck would have it, just after 3 classes, COVID happened. My art teacher asked me to continue practicing painting with the advice “Just believe in yourself and you will do it”   

March 2020 arrived and gave the whole world the gift of time with nowhere to go. After much soul searching, I decided to devote an hour or so every day to pursue my passion for painting. I realized there is nothing to lose and I would improve by learning from my mistakes. I decided to paint for an audience of one – myself. 

My first painting was in March 2020 when ‘Stay at home’ was first announced around the globe.  I decided to paint to bring calmness and peace to my anxious mind about the uncertainty looming around the global pandemic.  I decided to paint Ganesha, the remover of obstacles, as I always visualized that Ganesha up there was guiding me and watching out for me. Painting was like meditation and was truly therapeutic, engaging the brain cells in a very unique way.  

The best part was that I was very inspired by my first effort and decided to continue painting. I am truly grateful for the encouragement from my hubby, daughter-in-law, daughter,  and son. Their honest feedback and the perfect gift of an artist table on Mother’s Day helped me to better focus on creating artwork. 

I shared pictures of my artwork with friends and family via social media. My next-door neighbor was very impressed and asked if I could paint Ganesha for her. Suddenly my passion and free time had a purpose. One thing led to another and in the span of 365 days,  I have created over 100 paintings and shared or gifted over 85 paintings with neighbors, coworkers, family, and friends around the globe. 

Beside Ganesha, I challenged myself to line art with topics that evoke serenity – like ‘Newborn bond,’  ‘Meditation,’ and ‘Gratitude.’ 

My newfound passion was a perfect win-win situation. I had an outlet for my creativity and found purpose while hunkered down at home, while my family and friends enjoyed my artwork in their home.  

I was touched by their comments; ‘Your aura comes through in the paintings of love and laughter,” “The meditation painting reminds me that no matter what is going on in my life, I can find peace,” “You inspired me to start painting again,” and, “I will keep your Ganesha painting next to my Allah to bring peace in this world.” 

It was humbling that my artwork could bring joy and happiness to brighten the life of my near and dear ones. The icing on the cake was when my Mom asked me to paint a Ganesha for her 80th birthday celebration.  

While we cannot control what life throws at us, we can control how we react to it. Life is all about finding joy and happiness in those situations.  

I have transformed my very lonely dining room into a lively art studio. This corner of my house energizes and brings serenity at the same time. The vivid colors remind me of the blessings of beauty from Mother Nature, and serenity comes from the knowledge  that a superior power  is always giving me the strength to face any obstacles in life or removing them for me 

Twenty years from now, I hope to look back to my COVID phase as the time I discovered a new passion in my life and proudly say that I am a COVID-born artist!


Hema Alur-Kundargi is a registered dietitian, culinary artist, and is determined to be a lifelong learner. Find her at @theculinarydietitian

‘I Want My Work to Encourage People to Stop & Think’ Says Michelle Poonawalla

(Featured Image: Michelle Poonwalla and Circle of Life Artwork)

Artist, businesswoman, philanthropist, and socialite Michelle Poonawalla recently showcased a series of her new artworks at the Tao Art Gallery’s exhibition The Tangible Imaginative for the Mumbai Gallery Weekend. Michelle’s four oil on canvas works—Blue Wave, Desert Rose, Forest Flutter and Flutter Fly—come from the artist’s Butterfly Series, and feature three-dimensional, sculptural elements affixed to the canvas. Painted in bold colors, the works feature gold-effect butterflies.

Futter Fly

Poonawalla lives and works between London and Pune. Her practice combines cutting-edge technology and traditional artistic mediums, often utilizing sound, video mapping, projection, motion sensors, and other techniques. She has previously exhibited her work at the Saatchi Gallery, London; Alserkal Avenue, Dubai; and as a collateral project at the Kochi Biennale, India. More recently, Poonawalla has also begun exploring work with shorter digital format films.

In this exclusive interview, she spoke to us among other things about her earliest artistic influences, nature as inspiration, her favorite art medium, and the butterfly symbol in her works.

Tell us a little about your oil-on-canvas works at the Tao Art Gallery’s exhibition The Tangible Imaginative for the Mumbai Gallery Weekend.

MP: The four works come from my Butterfly Series which evolves beyond traditional 2D painting, incorporating sculptural elements that bring the artworks off the canvas and into the viewer’s space. A lot of my work features the butterfly symbol which for me represents both beauty and freedom–an ephemeral creature that is the result of a metamorphosis.

What was the idea, inspiration behind them?

MP: The works all have different inspirations and stories behind them. For example, Blue Wave is inspired by Mumbai and references the city through its free-flowing language and color. Desert Rose, which also features butterflies, represents the inherent beauty in nature’s patterns as I allowed the butterfly sculptures to fall naturally on the work before affixing each one where they landed.

A theme often addressed in my work is the strength and beauty of nature and the importance of preserving it. This is perhaps most obvious in Forrest Flutter. Painted in dark earthy hues and greens, the work celebrates the forest. 

You are the granddaughter of the iconic south Mumbai architect Jehangir Vazifdar. Tell us about some of your earliest artistic influences.

MP: From an early age, I was taken to some of the greatest museums and galleries in the world. I have always loved art and painted throughout my life and studied Interior Design at university. I was perhaps most inspired by my grandfather, Jehangir Vazifdar, a renowned painter and architect. My grandfather had a very special technique in oil painting with a ruler which he shared only with me, and it is important for me to carry on his legacy.

Your work is known to explore universal, socially engaged topics. Tell our readers about some of these themes.

MP: Art is a universal language with a powerful voice, and I’m conscious my work is used to spread a positive message. For example, I have recently produced a series of video works that explore environmental change and other issues around us today. I want my work to encourage people to stop, think, and introspect. Be it climate change, water scarcity, or violence in our world, people should always stop and think.

Desert Rose

Which is your favorite art medium? Do you feel that digital art is the future of art?

MP: I enjoy acrylic and work in acrylic for my butterfly paintings. However, I wouldn’t say I have one favorite medium. I’ve worked in oils a lot and I am looking forward to exhibiting some drawings at the 079 Stories gallery in Ahmedabad soon.

Digital art is certainly something we are seeing more of but I think physical painting will always have a place – it is important to be able to physically engage with artwork in person. I’ve always been interested in combining cutting-edge technology and traditional art forms, and digital art has allowed me to create huge immersive installations where the viewer is completely emerged in the visual image. Technology gives an artist the freedom to explore endless possibilities; it allows a greater feeling. I also think digital art speaks the language of the younger generation, and it keeps their interest in art growing.  

What are you working on next?

MP: I’ve got several projects coming up, including showing work in a drawings exhibition at the beautiful 079 Stories in Ahmedabad in February. Later in the year, I will also be showing work in a group exhibition in Delhi. Alongside this, I am exhibiting work online with several platforms including digital work with SeditionArt.com and several new works I have just produced for House of Culture. Hopefully, there are a few international projects on the cards which I will be able to announce later in the year. 


Neha Kirpal is a freelance writer and editor based in New Delhi. She is the author of ‘Wanderlust for the Soul’ and ‘Bombay Memory Box’.

Vasudhaiva Kutumbakam: From Trinidad to America

Being newly retired, memories of my childhood bubbled up, as I finally had time to daydream. My father’s grandmother, Gangee Maharaj, arrived in Trinidad from Raipur, India in 1900. Many Indians came to Trinidad as indentured laborers eventually earning plots of land from the British. Thus, my great-grandparents received their own land, passing it on to my grandparents, on whose farm I grew up. I remember vividly our two beloved cows, Rani and Raja. We were often blessed with fresh and nutritious milk.

To become an eligible bride, one requirement was to be able to skillfully puff a paratha! Achieving the perfect architecture and weight of the delicious and well-known flatbread takes practice. Only then could you have your handprint painted on Grandma’s kitchen wall. This meant that you were allowed to enter her kitchen and prepare a meal under her supervision. My first painting had to be of this kitchen!

I also remembered the wonderful folklore of Trinidad infused by the many African immigrants. We heard many stories of mythical creatures. Moko Jumbie was invoked to protect the people during the long and arduous slave boat journeys from Africa. The Soucouyant is a vampire, popular in many Caribbean countries. I remember being very scared hearing some of these stories as a young girl!

My paintings are of memories from my childhood, which was steeped with traditional Hindu ceremonies, African folklore, the natural beauty of the islands, and the array of cultures of the diverse population.

The world is a family 

One is a relative, the other stranger, 

say the small minded. 

The entire world is a family, 

live the magnanimous. 

Be detached, 

be magnanimous, 

lift up your mind, enjoy 

the fruit of Brahmanic freedom. 

—Maha Upanishad 6.71–75 

The Yamas and Niyamas of Healing Patterns and Colors is the title of my newest painting collection.

Imagine that these ethical principles, the yamas and niyamas of the ancient Upanishads are embedded in all my paintings. The sage, Patanjali expounds on them in his Yoga Sutras. Sutra means “thread” in Sanskrit, which you can see represented by the many-colored line segments in this painting collection. 

Indra Persad-Milowe’s Art Piece, The Yamas and Niyamas of Healing Patterns and Colors.

YAMAS: Patanjali’s Yoga Sutras lists five yamas, or moral restraints, which apply specifically to how you behave outwardly toward other beings.

1) Ahimsa – Non-violence in thought, word and deed 

2) Satya – Truthfulness 

3) Asteya – Non-Stealing

4) Brahmacharya – putting the “path to the Divine” first and foremost in life 

5) Aparigraha – Non-hoarding, freedom from grasping 

NIYAMAS: Patanjali’s Yoga Sutra lists five niyamas, or observances, which apply specifically to how you conduct yourself on a more personal level. 

1) Saucha – Cleanliness 

2) Santosha – Contentment 

3) Tapas – Self Discipline 

4) Svadhyaya – Self Study 

5) Isvara-pranidhana – Surrender: offering yourself completely as a vehicle of the Divine will 

My ten-piece paintings capture religious and cultural life in so many patterns and colors, just like our world is full of varieties of patterns and colors. They reflect many disciplines and ideals of life: faith, fortitude, sacrifice, respect, and love. Love and respect for all patterns (ways of life) and colors (global cultures) are a very important Hindu worldview – “VASUDHAIVA KUTUMBAKAM” (The world is a family).


Indra Persad Milowe is a visual artist living and working in Salem, Massachusetts. She is currently working on an extensive series of paintings, drawing upon childhood memories of growing up in Trinidad during the 1950s.

Paras Borgohain: Khul Ja Sesame

Stories of plight, of unrequited love, of untold history are the threads that stitch the seams of our ever-expanding world. These are the narratives that empower us to learn and to empathize with small tales of astronomical weight.

This has become Paras Borgohain’s mission: storytelling of impact. As a filmmaker straddling industry in both America and India, his unconventional life path has given him the power to bring these narratives to the screen. He aims to bridge the gap between everyday people and important stories from around the world. 

Borgohain began his academic career at the University of Delhi, where he studied English Language and Literature. Early in his life, he began to see the importance of telling stories and bringing many of these narratives out of the shadows for public consumption.

“I needed to find a point of entry into the industry,” he said, speaking of the time of tumult towards the end of his education. Following Delhi University and a graduate diploma in Communication from Mumbai, Paras found himself at a production company that exclusively worked on daily Indian soap series.

“It was not something I wanted to work with because I hated watching them as a kid,” he said. While it was a grind for him, he knew that it would be the best way to network into the industry. It taught him about working under pressure. He recounted staying up late into the night, coming up with storylines that would be filmed at 7am the next morning. But still, the industry was stagnant, the plotlines of mothers-in-law and revenge were often hard to identify with as a young person. 

Borgohain’s thirst for mission driven work brought him to Galli Galli Sim Sim, India’s Sesame Street. Collaborating with in-house educational researchers breathed life into his career. He was finally doing something that mattered to him: shaping the development of the next generation of Indian children. 

Galli Galli Sim Sim was a safe space for the production group. People on the team got married – that’s the kind of family the show was. 

“Writing for children isn’t what I thought I’d be doing in terms of my artistic goals,” he said. He wanted to write about things that mattered to him, metafictional narratives and stories about minority groups, topics too heavy for a children’s television show. Due to this, Borgohain took up several freelance projects over the next few years. He worked on community radio shows for UNICEF, for pockets of the world that didn’t have access to television. He assisted with the screenplay writing for Turner Broadcasting. He helped contribute to a National Geographic documentary about how the 1980s changed India. Through these projects, he learned about the issue spaces he cared deeply for, but he realized he needed to stop doing commission work. 

“I was afraid that I would lose my individual voice,” he said. 

This was the tipping point for him. He decided he needed to write his own feature film, “Deepest, Darkest or How Not to Lie.”  

The story begins with a gay man who dies mysteriously. He writes a letter to his friend, a PR professional, and she is tasked with figuring out what happened to him. She explores his life and must come to terms with their mirrored experiences with unrequited love and suppression. She must find out what lead him to believe that life was hopeless. 

Paras Borgohain, winner of the BlueCat Roshan Award (Image taken from BlueCat)

The story, about loss, acceptance, and identity, had huge success, winning the Bluecat Roshan Award for best Indian screenplay in 2016. Paras finally had a way into the industry, telling stories close to his heart of the struggles of LGBTQ+ communities in India. This was the type of storytelling he always dreamed he would be known for.

Soon after, Borgohain enrolled in UCLA’s professional program at their film school. Here, he sharpened the core of what he wanted to write about. 

“Do your words on the page do your thoughts justice?” He always found himself asking himself about the authenticity of his words. 

Today, he is working on fleshing out projects that he began at UCLA. He’s working on a project about Assam from the 70s to 90s, taking a historical lens that has rarely come to the mainstream media. He is in pre-production for a film about the decriminalization of homosexuality in India, called “The Crash of ’14,” which was his final project during his professional education. 

The project closest to his heart is one about an LGTBQ+ activist and author from the 90’s named Stan Leventhal. Back in 2013, Borgohain had written a blog post about how much Leventhal’s writing had moved him, with its lucid and unique voice about the AIDS epidemic. With serendipitous help from the internet, he managed to get in touch with the late Leventhal’s family, who gave him permission to turn his book into a movie. 

Paras looks back at his career with gratitude. 

“It’s taken me 14 years to get from working on soaps to something I give a damn about.”

His advice for aspiring Indian American filmmakers is simple: be open and resilient. 

“If you want to break into a tough industry like entertainment, you have to be thick skinned,” he said. It took him several failures and jobs to get to where he is today. 

But above everything, he says to trust your internal creative compass. 

“What’s going on inside you as an artist, what your personal experiences are, that’s your next creative masterpiece.”

Swathi is a junior at Duke University studying Public Policy and Computer Science. She hopes to continue to learn through the lens of her Indian-American heritage.

Rina Banerjee: Make Me a Summary of the World

May 16–October 6

 

This story was sent to us and Co-organized by San José Museum of Art (SJMA) and Pennsylvania Academy of Fine Arts (PAFA)

Organized by Lauren Schell Dickens, curator, SJMA and Jodi Throckmorton, curator, PAFA


Rina Banerjee: Make Me a Summary of the World is the first mid-career retrospective of the artist’s work. The exhibition presents almost twenty years of Banerjee’s large-scale installations, sculptures, and paintings—including a re-creation of her work from the 2000 Whitney Biennial; sculptures featured in the 2017 Venice Biennale; and recent work for the Prospect 4 New Orleans biennial.

Rina Banerjee (b. 1963 in Calcutta, India) grew up in London and eventually moved to New York. While the visual culture that she experienced as a child in India greatly influences her aesthetic,  her immigration to the UK and her love of the diverse culture of her current home, New York City, form the core of her practice. Banerjee creates vivid sculptures and installations made from materials sourced throughout the world. She is a voracious gatherer of objects—in a single sculpture one can find African tribal jewelry, colorful feathers, light bulbs, Murano glass, and South Asian antiques in conflict and conversation with one another. These sensuous assemblages reverberate with bright colors and surprising textures present simultaneously as familiar and unfamiliar.

Amidst a progressively factious turn toward nativist politics in the United States, Banerjee relentlessly creates work that reflects the splintered experience of identity, tradition, and culture often prevalent in diasporic communities. Significantly, her career as an artist, beginning in the late 1990s, parallels the expansion of the global art world, the Internet, and the repeated rise and fall of “identity politics” in art.  Though Banerjee is one of the most important artists of the post-colonial Indian diaspora living in the United States, and her work has consistently gained visibility internationally (especially in Asia and Europe), she remains relatively unknown to U.S. museum audiences.

Rina Banerjee: Make Me a Summary of the World focuses on four interdependent themes in Banerjee’s work that coincide with important issues of our time: immigration and identity; the lasting effects of colonialism and its relationship to globalization; feminism; and climate change.

Catalogue

A full-color, ca. 160-page catalogue was published in conjunction with the exhibition and available for purchase at SJMA’s Shop.

Touring schedule

Pennsylvania Academy of Fine Arts, October 27, 2018—April 7, 2019

San José Museum of Art, May 17—September 29, 2019

Palm Springs Museum of Art, CA Spring 2020 (TBC)

Frist Center for the Visual Arts, Nashville, TN, August 6—October 25, 2020 (TBC)

Nasher Museum of Art at Duke University, NC  (TBC)

Learn more about this wonderful exhibition here:  https://sjmusart.org/exhibition/rina-banerjee-make-me-summary-world

This Article was provided to India Currents by the San José Museum of Art