Art4you Magazine 1st Issue Sep 2020

ART4YOU ISSUE 01 | SEPT 2020

I N T E R N A T I O N A L

www.art4youmagazine.com

A R T

M A G A Z I N E

@Copyright of ART4YOU Magazine | By @anvaradamvarghese

BEHIND THE DOOR International Art Magazine

Issue 1 September 2020 @ Copyright of ART4YOU Magazine | By Art4you Gallery Photography : Mir Kian Roshannia ,Turkey

INTERNATIONAL ART & CULTURE It reports on the art, personalities, issues, trends and events shaping the international and local art world.

Follow us: @art4youmagazine @art4youmagazine: @art4youmagazine @art4youmagazine

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'UNTITLED' BY ARTIST - MILIND DHAVALE ART INSTALLATION FROM MATERIALS - 150 x 70 x 15cm

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ART4YOU INTERNATIONAL ART MAGAZINE

OUR TEAM Founder & Editor-In-Chief Jesno Jackson & Rengi Cherian Creative Director Chitra Sudhakaran Editorial Team & Staff Writer Chitra Sudhakaran - Art Writer and Art Educator Surabhi Bala - Staff Writer & Freelance Journalist Ismayeel Meladi - Content Editor Yousef Mohammed - Staff Writer Noura Hamed - Staff Writer Ajay Vasudevan - Staff Writer Annamma M Regis - Writer Webmaster & Design Jenson Renji Cherian & Nimmy Nixon Photographer Anvar Adam Varghese, Mir-Kian Roshannia & Jessica Joseph Illustrator Reynaldo Jr. Fortu Cortez Social Media & Admin Dale Lawrence & Richard Smith Interns Ayesha Khan & Austin Ribin Contributors Honey Bhaskaran - Author Johny ML - Art Historian and Art Critic Narendra Raghunath - Art Writer, Art Professor Kavita Balakrishnan - Art Critic, Art Researcher & Art Curator Peter Gressman - Art Critic and Art Writer Corry Macdonald - Art Therapist , Artist and Writer Sangeetha Mohan - Actress and Writer Ismayeel Meladi - Poet & Author William Richard Muenzer - Environmentalist and Art Writer Supporters Saju Nair Stephanie Neville Nada Al Barazi Tom Lohner Dr.Hafsa Banu Anjini Laitu Peter Farrington Eliana Padroza Sonal Madan Johar Shobha Iyer Varsha Saju Shereen Abraham Emma C Write to us: editorial@art4youmagazine.com admin@art4youmagazine.com submissions@art4youmagazine.com ad@art4youmagazine.com www.art4youmagazine.com

Image Source : Photography @anvaradamvarghese

ON THE COVER This photograph titled: HIDDEN FACE OF COLOURS was taken by Anvar Adam Varghese.

SPECIAL EDITION: ISSUE 1 CREATION IN ISOLATION A compilation of Black and White Art and creative musings. Intense visual treat !!!

By Art4you Gallery

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EDITORIAL Dear Readers, I’d like to welcome you all to the First Issue of Art4you Magazine.

This magazine will serve as an extension of ART interests, with articles written by some of the great authors I’ve come to know over the years.

During this pandemic, we are publishing new content that explores the deeper themes and questions emerging at this time. These stories reveal new opportunities to deeply connect with each other and the living world in the midst of this crisis and beyond.Uncertainty in times of crisis breeds fear and anxiety, but it can also uncover opportunities for greater connection and attention to the threads of relationship that so deeply connect us. In asking how best to respond to the crisis at this time, we feel that it is important to find new ways to come together as a community and to create spaces for support, creativity, and inspiration.

In our opening cover story, Honey Bhaskaran shares her Creation in a Feminine Perspective, with her radiant smile, as beautiful as her writing, the passionate author and riveting woman warmly welcomes us to her Women's Writes: Grace Amidst Peril. In the heart of the issue was an immersive article “The Brand New Art in the brand new world” by the Art Historian -Johny ML, shares his view on how Covid-19 has scandalized and vandalized this canonical understanding about art. Surabhi Bala explores the Ancient Indian tribe's tale through its captivating art - Saura. Wrangling in a maze of textiles, the artist Stephanie Neville plays with the viewers's mind making them question the 'Connecting Threads'. Our editorial has gone to the history of “Balaji's Antiques”, belonging to the Jewel of Bangalore where it explores and visualizes the stories about each antique, artifact or curio.We also present another article of Dr.Kavita Balakrishnan , an art writer who takes us through the visual storytelling 'Art History of the reader-viewer-'Paper presented in the panel - Entangling And Disentangling Printed Matter ',were brought into the domain of day to day life through art history.

A compelling interview with famous Emirati artist Fatma Abdullah Lootah. We peek into artist's mind to gain insights of her artistic process and philosophy behind her work. Noura Hamed brings our international art news with her interview with world renowned Artist Tom Lohner who elaborates on his creative process. As for the recent happenings in the Indian art scene, Yousef reviews ‘Big Bold & Beautiful Colourful World’ of Anjini Laitu and we feature a selection of the best Indian and International artists, exhibits and events.The evolution and development of our rich culture never ceases to impress, and refreshing to see the tradition is still being contributed to by forthcoming generations.

Welcome to our special edition - Creation in Isolation, documenting artists living in UAE and across the world who are finding creativity in self-isolating times. What are artists doing while under quarantine in their studio and creative spaces? Displaying painting, piece of poetry and inspiring articles sent directly from the artists to Art4you Gallery, the series is featured both in the blog and corresponds to short episodes on our highlights. Read the intro features and art community, introducing the series of their artworks and its stories behind in 'black and white'.

Art is a medium of communication that allows the artist to transmit the innermost, the heard, experienced /perceived, or even the troubling and transmitted to the audience immediately a thousand words in a single piece of art. In crisis times, confusion creates apprehension and distress but it can also open opportunities to communicate and pay attention to the connections that bind us so profoundly. When we discuss how best to react to the crisis at present, we find it is necessary to recognize new ways of working together as a group and to build supportive, innovative and inspiring spaces. We Pray for everyone as we battle through this pandemic and hope for things to go back to normal soon.

Hope you enjoy the read. We thank our readers, writers and advertisers for their ceaseless patronage over the past months making this centenary issue a possibility. We hope to reach new horizons in the coming years with your continuing support. Do share with us your feedback at art4youmagazine@gmail.com

Jesno Jackson & Rengi Cherian FOUNDER

&

EDITOR-IN-CHIEF

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PAINTING BY EMIRATI ARTIST FATMA ABDULLAH LOOTAH @SIKKA ART FAIR

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143 114

159 Follow us: @art4youmagazine @art4youmagazine: @art4youmagazine @art4youmagazine ART4YOU MAGAZINE | 5

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CONTENTS

AFRICAN SCULPTURE Ajay Vasudevan

PIECE OF POETRY: Reflection Sangeetha Mohan

10

CREATION IN ISOLATION Ma Teresa Bingha

EDITORIALS EDITOR LETTER

04

OUR TEAM & CONTRIBUTORS

03

FEATURES SPECIAL FEATURE 10 WOMEN'S WRITES : GRACE AMIDST PERIL COVID CREATIONS BY HONEY BHASKARAN THE BRAND-NEW ART IN THE BRAND-NEW 20 WORLD BY JOHNY ML CONTEMPORARY ART HISTORY & THEORIES 39

BY NARENDRA RAGHUNATH

ART HISTORY OF THE READER-VIEWER 26

BY KAVITA BALAKRISHNAN AN ANCIENT INDIAN TRIBE'S TALE THROUGH 44 ITS CAPTIVATING ART BY SURABHI BALAKRISHNAN

Author:Honey Bhaskaran

COVER STORY

COVID CREATIONS ART OF WELLNESS ART & THERAPY

HOW TO MAKE SPACE FOR YOUR CREATIVE INTELLIGENCE

BY CORRY MACDONALD

100

CREATION IN ISOLATION (SPECIAL) 157

“PERHAPS, LAST GAME...PERHAPS, LAST 162 DANCE...PERHAPS, LAST CHANCE...”

BY ELLINA ZHYHYNA 173 CREATION IN ISOLATION BY THERESA BINGHAY 177 UNTURNED STONES BY SAJU NAIR- TV2 165 A DESIRE TO CREATE BY VARSHA SAJU 180

PIECE OF POETRY

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CONTENTS ART & COMMUNITY BRIDGE TO ARTISTS

73

(ART FORM AND ARTIST CONNECTION)

ISOLATION AMIDST THE CHAOS

BY DR. HAFSA BANU (NAIL & STRING ARTIST

82

PICHWAI ART BY SONAL MADAN JOHAR

76

KERALA TRADITIONAL MURAL BY SHOBHA IYER

COMMUNITY MATTERS EVENTS/EXHIBITIONS 190

CREATION IN ISOLATION -BLACK & WHITE ART

128

LE CUBISME - CUBISM EXHIBITION

AWARDS/COMPETITIONS/PANELISTS 195

Author:Honey Bhaskaran

BLACK & WHITE ART COMPETITION & WINNERS

MUSIC/ VIDEO/ MOVIE 156

105

111

107

IN THE NEWS ART & DESIGN NEWS

(ART GALLERY/ ART FAIR/ ART AUCTION/ FESTIVALS) WHY A SPECIAL CONNECTION WITH ART

BY EMMA CHIARAMONTE -AVA GALLERY CAMBASS GALLERY & MUSEUM, USA

MUSEUM & HERITAGE 63 69

54

MOVIE - INJUSTICE BY NISAR IBRAHIM

BALAJI'S ANTIQUES, BANGALORE, INDIA

NATURE & ART INTERVIEWS

MAURICIO MAYORGA BY WILLIAM MUENZER

MANGROVES FROM THE WATER

BY ZAAHIDAH MILLIE MOTHER NATURE: WORLD ENVIRONMENT DAY

124 114 120

PRIMITIVISM & AFRICAN SCULPTURES

BY AJAY VASUDEVAN

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CONTENTS 57

ARTISTS & ART PROFESSIONALS INTRODUCING (PORTFOLIOS) PETER GRESSMAN - ART CRITIC & 131 ART CONSULTANT

ARTISTS TO INSPIRE 134 BIG, BOLD & BEAUTIFUL - ANJINI LAITU 138 CONNECTING WITH NATURE - NADA AL BARAZI

ARTISTS STATEMENTS CONNECTING THREADS – STEPHANIE NEVILLE 49 57

TOM LOHNER - AWARD-WINNING ARTIST

PETER FARRINGTON - SIGNS, SYMPTOMS AND SYMBOLS

THROUGH THE LENS (PHOTOGRAPHY) 183 YOUNG ARTISTS JENSON RENJI CHERIAN 143 EASHAN DASGUPTA 54

151

20

Art Historian - Johny ML

GALLERY - FEATURED PAINTINGS ALEKSANDRA OGORKIEWICZ , POLAND 25 154 RISHU GOSAIN ROY , INDIA 155 AHMED RUKNI AL AWADHI, UAE

PEARLS OF ARABIA INTERVIEW MS. FATMA ABDULLAH LOOTAH ART SHAPED BY MOMENTS OF SPONTANEOUS CREATIVE EXPLOSIONS

BY CHITRA SUDHAKARAN

OPEN CALLS & OPPORTUNITIES

91

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S P E C I A L

F E A T U R E

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SPECIAL FEATURE

BY

HONEY

BHASKARAN

Creation in a Feminine Perspective!!!

Radiant smile, as beautiful as her writing, the charming, passionate and riveting woman warmly welcomes us to her CREATION IN ISOLATION. Author, lecturer, writer, Honey is a woman of many talents.

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SPECIAL FEATURE

DIASPORA & WRITING Expatriate life has influenced the author's writing in a subtle way.

Expatriate life has certainly influenced my writing in a subtle way. The concept of freedom was clear to me only after I started life outside my nation. Away from pseudo moralities, in the gulf, I realized that it is possible for a man and to develop an open relationship to discuss all subjects underneath the sky, sitting together, with nothing being taboo. The possibilities and the depth and width of freedom it afforded added more perspectives to my attitudes towards relationships. It was a new start to portray my thoughts onto a wider platform of life. Probably because all the emirates are within a day’s travel, living here has helped me to attend multiple public functions and mingle with people of different nationalities. Travel is convenient, so listening to discourses, meeting people from multiple backgrounds have all been made very easy adding to the richness of life. My writing though is not filled with expatriate life is filled with insights received from my interactions with people, and experiences while travelling outside and the lessons learnt from other’s lives. So ironically although expatriate life has been a fertile ground enabling my writing, the writing in itself does not reflect it much.

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SPECIAL FEATURE

COVID CREATIONS The world had never expected this pandemic so the darkness fell all at once. This deadly environment drowned our wealth, health and emotions as a whole. During this Covid pandemic, as someone who works in the health sector and in the forefront of the battle against the deadly virus, I have been able to witness firsthand the sheer helplessness of people when faced with an enemy they cannot fight. Power, position, money all means nothing under these circumstances.

People have realized the things that are most important in life and that is a heartening sign for the future. Being a part of the Covid force, while intimidating at first, it made me understand my social, personal and professional responsibilities and made me throw myself fully into fighting the enemy.

In fact I worked harder at this even more than l did during the crusade to help the flood victims back home and I believe that I was able to make a difference. During this time I was able to witness people who were well settled, even powerful begging for admission into the hospital as the wards overflowed and triage had to be imposed.

All the false illusions of wealth, strength and all were stripped away and finally all were just men..weak helpless men ! When things are going well we commit so many acts of arrogance and even cruelty, secure in our perceived elite status. I sincerely hope that this experience would force people to introspect and become better human beings – humbler & kinder.

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SPECIAL FEATURE

My entry into the world of writing was totally fortuitous. I certainly believe that it was my reading that opened the doors to writing. The books that my mother advised me to read, the books she read to me in my childhood, all paved my path to writing. I tip toed into the world of reading, enchanted by the stories my mother read aloud. I am from a financially below average family. Since we were financially weak buying books to read were a pipe dream then. Coming from a conservative family the topics and books I could read were limited. It was only after I became financially independent that I was able to buy and read the books of my choice. Till then the public library nurtured my creativity. I have always felt that my reading expanded only because of that library in my Village.

ENTRY INTO WRITING The first Malayalam novel I read was M Mukundan’s “Mayyazhiyude Teerangalil” gifted by Malayalam Teacher Salestin John who was a source of great encouragement always for reading and writing. He advised me to read and write more and choose topics that I felt were of interest and relevance. He used to make me recite my insights from the books I had read to various batches. He also used to give me books to read during my vacations.I started writing when I was in the 8th or 9th Standard. Childhood nights were filled with a frenzy of reading.

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SPECIAL FEATURE

Books borrowed from the library were secreted inside school books and read in secret. I used to borrow from all the nearby libraries. Writing happened quite unexpectedly... a lonely childhood, a home suffocated by an overwhelming feeling of fear was my environment. To escape from the creeping death of fear, loneliness and pain I started to write. I transferred my woes onto the paper and felt relaxed. I realized that this was the elixir to my problems. Loneliness had started to shroud my life like a poisonous mist.That was what created the perfect situation to write. Both in writing and in life - my mother was and is my biggest pillar of strength. Experience undoubtedly enriches the quality of writing.I wrote my first poem on the day Mother Theresa died... My first poem was born from my grief. Although I started my writing with poetry, I never was an avid reader of the genre. I debuted in poetry before moving onto Haiku poetry, articles, and finally novels.

I firmly believe myself to be a much better reader than a writer. I strongly believe that whatever your mode of expression – poetry, novels or articles, It’s not necessary to read the same genre extensively. These creations draw deep from your experiences, reading may help strengthen and refine language but cannot help further. Literature is the language of your heart where your thoughts blossom and no one else has anything to do with it.

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SPECIAL FEATURE

POLITICAL VIEWS

The politics in my writings are my principles and these principles are aligned to everyone. While I do have definite politics as behoves someone living in a democracy it goes beyond that to humanism where man comes first, then politics.

SOCIAL MEDIA ATTACKS Social media has had a great influence on writing or it should be said that writing had a great influence on social media. The biggest advantage with social media is that it gives a platform to reach a wide readership without necessarily being established or well known. Earlier writers had to spend years, even decades before they became known and reached a decent circle of readers. Now someone starting his journey has a ready made readership. Another facet of social media is that it has empowered women.

AUTHOR

-

HONEY

BHASKARAN

" SOCIAL MEDIA HAS HAD A GREAT INFLUENCE ON WRITING OR IT SHOULD BE SAID THAT WRITING HAD A GREAT INFLUENCE ON SOCIAL MEDIA. "

In a patriarchal society women were conditioned to suffer indignity, insult and even assault in silence with the perpetrators walking away scot free. Now with social media, women, both artists and the laywoman have found their voice and if faced with the same, reacts powerfully and instantly, shaming the culprits and bringing them to their knees, however powerful they are. Social media has truly emancipated women. As a woman with specific political views and also an artist I have faced my share of trolls and attacks on social media but it has only strengthened my resolve and taught me how to be self -reliant and face life with a positive attitude.

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SPECIAL FEATURE

CREATION AND ISOLATION

When you reflect on how Covid has influenced art you have to say that it has actually influenced our thinking more than it has art. It has brought people the time to interact with other people, time to actually listen, time to think deeply and perhaps come up with new paradigms. The problem faced by artists is the lack of a public platform where they can perform.

On the other hand creativity is hitting new heights with the imposed isolation and introspection. More songs are being created, more written work being conceptualized than ever before. Writers of course require isolation to create and this period has afforded them more of this than probably any time in history. For the woman writer on the other hand, this period has increased their load with the family at home all the time. For her this time has limited her chances to create. For me personally this period has been one of hectic work and while it has given me multiple experiences to draw upon, I will have to wait for a later time to write meaningfully.

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SPECIAL FEATURE For writers a lockdown is nothing new. The process of creating an art form like a novel involves focusing yourself inwards till you are locked in yourself with minimal awareness of the outside world. There is only you and your creation in this world you inhabit. I don’t think any writer can create a worthwhile product without going into this process. Isolation is a prerequisite for writing and it’s impossible to do so with a crowd or in a noisy environment. Due to this I am sure that very few lady writers would have been able to produce meaningful work in the current situation.

Inspiration Even though I write mostly poems, my favorite form of literature is the Novel.

During childhood I mainly wrote poems. As time went along, with life getting more and more hectic, it somehow morphed into Novels. I read mostly novels and articles even now. When I sit to write a novel, I feel like I am in an Island in the middle of a river.

The island is deserted except for me and my words. I sometimes feel suffocated by the deluge of words that flow in. I suffer as though from birth pangs as my mind twists and turns. My torture continues till the writing is done. It’s not whether the end product is a classic or not, the pangs of the creator is the same and should be understood.

Keeping writing aside is akin to suicide. It is the very breath of my life. To make a living we keep uprooting ourselves and moving elsewhere. Every uprooting wounds us further. Even in the middle of a teeming crowd, our soul stands aside, steeped in loneliness. As the crowds filter away, memories tear at the scabs of our wounds.

We keep away from crowds and even friends. It is difficult to speak when we are in the depths of sorrow. But that silence is often misinterpreted. Loved ones can feel that they are being abandoned.

Woman writers A Species under threat I needed both my writing and my life....therefore had to fight to attain the freedom to write. Most women who write are like this. Even the men who preach women empowerment would have women at home who are tied down. Women are often helpless, they do not have the right to go out alone even to libraries to find the solitude they need without eye brows being raised. And if a woman writer achieves anything there are rumors of favors from the powerful supporting her. A woman’s achievements are always tied to her body. When a woman raises her voice against any social issue whether political or about patriarchy, her character is questioned.

She becomes the culprit of social attack. Slut shaming is the weapon for them to suppress their voice. But women have become empowered enough to overcome such problems in spite of going through the maximum level of social media attacks. A progressive society is possible only when gender discrimination falls and equality takes lead.

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SPECIAL FEATURE

Challenges when woman writes.

Society gets intoxicated by being judgmental.

As a woman the main challenge in writing is the lack of freedom of expressions.

Madhavikutty, Rajalakshmi and Saraswathi Amma had all faced this…In a male dominated society bypassing this is not easy. When I wrote about the lives of girls in dance bar, there were women friends of mine who walked away from me...

Aren’t women the right people to write about their lives? When the same sex creates boundaries for themselves, how can women’s empowerment be possible? How can victims have the will and strength to rebuild their lives? The notion is that those who speak in AIDS seminars are themselves infected , that those who participated in the kissing strike are impatiently waiting for a chance to indulge in it and that anyone who passes by a bar are drunkards. The repercussions it creates in society are agonizing.

The rape accused who are welcomed with garlands and flowers when released on bail and their followers also infest the society in which we live. It also has women who legitimize pedophilia.

All of them are complicit in creating the victims.

LIFE LESSONS Each fall is like a ray of light entering into pitch darkness. It is a revelation. It is when direct light enters that we realize the false impressions we were under and the truthfulness of the relationships we cherish.

We will recognize those who betray us as well as those who stand with us even when we are down. A woman who is staying alone is the person best to judge the world truly on its merits. You may have up and downs when you speak aloud in public but still you should walk with your head held high. Fill your thoughts with positivity and live the life the way you are.

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SPECIAL FEATURE

CREATIONS

FREEDOM OF EXPRESSION Freedom of expression is one of the fundamental rights; no one can say no to it. In a democratic country, if a group of people is trying to suppress people's dissimilar opinions with the help of political system, it’s called fascism. This has to be blotted out. We live in secular India. Nobody has to take up the advantage on the basis of privileges on behalf of religion, caste or gender.

We believe that racism has been obscured but still in India in many places communal riots are happening and Dalits are hunted and murdered.

Artists and writers also face the ire of fascism.

Fascism has taken root in India, that is what we have seen from recent incidents like Citizenship Amendment Bill. Our political system shows disregard for fundamental tenets of the Indian constitution. When the people raise their voice against the injustice sanctioned by the state, if the state is using its political power against it, it’s not at all secularism. Why should the system fear the Media? Media is the mirror through which the society gets to know what is happening around.

Meanwhile the media has the responsibility to keep the society updated with factual data and should never misguide people through wrong information. The political system doesn't have any right to censor the belief, ideas, thoughts or emotions of the people on different issues.

I have written a total of 14 books in which there are collections of poems, collection of Haiku, travelogues, article compilations of articles and novels. My first Novel “Udal Rashtriyam “ reflecting body politics was what established me as a writer even though still I have to walk more in writing.

"Udal Rashtreeyam' was in the list of best sellers list in Sharjah International Book Fair. My second novel was ''Pieta" which is based on Sonagachi, the red street in kolkotta and it won the prize for best novel in the GCC. My third Novel was "Nohayude Paravakal" written based on the flood experiences in Kerala in 2018.

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FE AT UR ES

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FEATURE

BY

JOHNY

ML

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FEATURE

The world, they say, cannot be the same once the Covid-19 impact is gone. Skeptics add, would there be a scenario where Covid-19 is completely gone. The optimism in the former statement and the pessimism expressed in the latter in fact are the sentiments that prevail all over the world today. Change has always been there unchanged with or without a pandemic; only thing is that we do not notice.

A pandemic creates an unprecedented and unprepared for rupture that would take many years to repair. But life has to go on in the previous or in an altered fashion. Symptoms and signals are already there; the very sight of people wearing mask is not only a sign of virus deterrence but also a change in the way people perceive themselves as ‘dressed’ in the society.

So are the several small and big adjustments that people all over the world have been taking since the outbreak of the Corona Virus. In this context, be sure, art cannot be the same as the Pre-Covid-19 days for art is a product of the human imagination and the societies imagined, realized and activated by them.

One of the major concerns of the artists has been this; would all the avenues of exhibiting art be closed forever and be relocated in the virtual spaces? For many years, since the advent of the virtual space, artists have been using this space to circulate their aesthetical works and also to find new commercial and profitable avenues elsewhere other than their places of origin. Virtually the geographical borders of art dissemination came to be dissolved in this process and shift of the global art market to the virtual platforms also facilitated free flowing of art works and finance across the world producing larger networks of aesthetical and business interests.

Today, even the provincial artists find their fans and followers from across the globe irrespective of their cultural affiliations. However, there is a sense of dejection among the artists whose diehard belief in the very act of viewing a work of art in its original.

JOHNY ML : Art Historian / Cultural Critic Art Curator / Art Writer The concern is legitimate and has to be addressed with due respect and care. Art, they feel has to be seen directly for a fuller and all round aesthetical experience. If you ask, whether such direct appraisal and enjoyment of the works of art have been happening all these centuries, the answer would be a big NO. Art has always gone places through various mediums, mainly in print and partly through televised images and broadcasted stories about the art and artists.

All these while, for a larger public art meant only aesthetical and cultural elevation, not really the flow of economics, which is rather a recent revelation though it has been there always latent in the productiondissemination-commerce circuit.

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FEATURE

Perhaps, this underlying fact was a sort of ‘willing suspension of disbelief’. Everyone knew that commerce was there but overlooking it for a ‘larger’ benefit was always soothing for the viewer section of the society. However, the territorial understanding of corporeal enjoyment of art where the work of art, the place of exhibition and the viewer are in the same place, has gained a mythical stature and also unquestionable authority of/on viewing. The world of tourism flourishes in this canonical approach that the viewer and the work of art should be corporeally present in the same place.

Covid-19 has scandalized and vandalized this canonical understanding about art. While the museums and galleries remain closed for over three months the artists all over the world have found various ways of showing their works through different communication channels that predominantly are the manifestation of the large virtual space that has brought world under its all perceiving sky/eye. This in effect has caused a reimagination about viewing art and also the corporeal involvement of it. It could be a sort of decentralization of art viewing as well as a deconstruction of the museums and galleries that have grown to mythological proportions during the last five centuries of so. However, if you look at the process of this deconstruction carefully, you could see that it has been happening simultaneously with the advent of the virtual space even before the pandemic has struck.

There were initial resistances regarding viewing the works of art in a virtual space and were ‘condemned’ to be ‘reference-viewing’ or rather viewing for reference purposes with an intention to gather information and form a general idea about what is happening in the museums and galleries elsewhere. But that stands changed today. Had the reference viewing been for gathering information regarding art, today the very same thing has become the new way of ‘normal’ viewing, replacing or displacing the former corporeal viewing of art. That is the new normal today.

And the days are not that far when the commerce of art also would shift base completely to the virtual platforms. It has been so though partially and the new situation has forced one and all to re-imagine the virtual platforms even for art commerce. This means the rei-magining of the very making of the art and artists themselves. How do they operate in this newly created scenario? How do they create their works for aesthetical and commercial viewing? How do they present themselves as artistic personalities in the postpandemic era? How the ideas about art could refashion the very thinking about art viewing?

All these questions matter though we need to find answers in the procedural fashion, mixing both works, practice, viewing and theories regarding all of these.

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FEATURE

I remember myself in 2015, sitting and writing about the drawings of Shilpa Gupta, a major artist in contemporary Indian art scene, which were exhibited in a prominent gallery in Delhi. I was in Trivandrum on a visit and it was sure that I would miss catching up with it as it was going to close before I returned to Delhi. Hence thought of looking at the works in the gallery web site and doing an appreciative writing and I did write and publish it in my blog. I had mentioned that I did the writing remotely, without seeing the works in person. Soon came criticism from different quarters questioning ‘authenticity’ of such writing created out of ‘not seeing’ the work (in person). I held on to my argument that it was not necessary always to see a work of art in person if the viewer knew the oeuvre of the artist in question or on display. Five years down the line, we are in a spot where we could do no art writing after seeing the works in person. I had not anticipated a pandemic then but I did know that there would be a day when the critical literature regarding art could happen without the critic going to the museums and galleries in person.

Looking at the way the galleries and museums function today (a sort of Work from Home!) one could easily gather that the shift to the virtual spaces has already happened. The technicians of the major museums and commercial galleries have been working overtime to create virtual tours of the halls, galleries and corridors, almost capable of giving real time experiences. Then it was considered as a technological feat than a practical solution or alternative to the very viewing experience of art.

The more technologically advanced that you appeared the more you found yourself and your institution at the ‘fad’ end of events. But today the posturing has become a permanent feature. And the art viewing has changed. It has to be said that with the real spaces closing down for various reasons including non-commercial viability and lack of attendance (the rich and powerful patrons would be wary of the viruses in the galleries) it is not the galleries and museums that change the tack and track alone but it also forces the artists to change the very mode of art production. It could vary from downsizing the scale to the making of art to fit into the ever evolving digital space.

" COVID-19 HAS SCANDALIZED AND VANDALIZED THIS CANONICAL UNDERSTANDING ABOUT ART. " ART4YOU MAGAZINE | 23

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" ART HAS ALWAYS GONE PLACES THROUGH VARIOUS MEDIUMS, MAINLY IN PRINT AND PARTLY THROUGH TELEVISED IMAGES AND BROADCASTED STORIES ABOUT THE ART AND ARTISTS. " ARTWORK BY BERNADO S GEMINIANO, PHILLIPINES

I am not a sci-fi writer or fan who would turn every existing bit of reality into a horrifying futuristic event in sharp, deep and unearthly colors. I say that the real spaces also would evolve along with this process. When everything is relocated to the virtual spaces what as human beings we lose is the warmth of sociality and kindness, two civilizational foundations that the human beings have generated out of millions of years of evolution. That means the collapse of humanity and the very ethical sense of living which in the long run would turn us into monsters, no doubt. The role of the art and artists (and also the creative people from science, humanities, fashion and all such fields) is to create spaces (alternative or mainstream, within architectural specificities or in the open spaces like streets) that could bring people back for real time human interactions.

It boosts the purpose of living and creating; it enhances and maintains the need for equal rights and justice for people and nature; it keeps the people political, the absence of which could render people into workers that protect the nest and perish in the long run without creating anything because being political is the only way to be alive and creative. Hence, reimagining the places of meeting is also a major concern for the artists today.Though in limited numbers people are supposed to meet and maintain the engine of civilizational progress. Art is fuel of living, so art is not going to die so long as humans live on. But the perishability code has been inscribed already with the pandemic, resultant culling and genetic modification. The recoding could happen only through the reprogramming of everything, imagined and practiced through the deliberate and beautiful convergence of art and science.

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DON'T LET ME SLEEP BY ARTIST ALEKSANDRA OGORKIEWICZ, POLAND

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GALLERY FEATURED

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Art History of the reader-viewer

A Kerala Archive of Periodical Print-Pictures

BY

DR.

KAVITA

BALAKRISHNAN

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An array of artifacts from Indian popular culture contexts establishes that the acts of seeing became acts of knowing in 20th century India (1).

Here is proposing a Kerala archive of print pictures as an unarticulated specimen of the visual culture practices of 20th century Indian literate societies. I choose Kerala because this region had been a lively laboratory of literacy that tested the ideas of public sphere, print capitalism and public action (2). Focus of this paper is on the historical making of a ‘reader-viewer’ whose everyday act of seeing and knowing constituted a range of civil society identities like editors, writers, artists, readers, intellectuals, critics and onlookers who keep on constructing meaning from their world. A print-picture is the forensic evidence of this public domain (3). The reader-viewer of a modern Indian civil society looks, witnesses, watches, reads, fantasizes, interprets and even thrives on a discourse of the verbal and the visual ingredients of the world. The periodical print media is a metaphorical space where fact and fiction merge easily, though often fictitiously. The printed page also generated and sustained many suitable representational languages of art for a merge of the aesthetic ‘high art’ and the commercial ‘low art’ in modern India. Only upon a critical reading, the page shows the discreet drama of hegemonicrelations between people involved in it as editors, writers, artists and readers. The legacy of ‘reader- viewer’ also historically makes sense of the contemporary art’s critical acts of photo-romancing, parodying and masquerading. Not necessarily forming a homogenous national identity or popular culture with binding characteristics, this identity is discreetly shaped by the specific social history of ‘mind- watching’ in different print-culture industries of India in regional languages.

'PAPER PRESENTED IN THE PANEL ENTANGLING AND DISENTANGLING PRINTED MATTER' WRITTEN BY DR. KAVITA BALAKRISHNAN

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Early stages of life spent in the world of Malayalam periodical magazines of 1970s, 80s and 90s first signaled a characteristic world of pictures to me.

Many elders had pretty prided collection of illustrated magazines of culture and current affairs.

When these home libraries grew into quite uncontainable size over a time, these bundles inadvertently got disposed off in the name of old stuff, ‘the trash’. The pictures and stories thereafter persist in memory, if not archived.Those magazines had plenty of photos, drawings and sketches, mostly of men and women in actions, gestures, dialogues and messages. On flipping through many bundles, I have seen that those people in pictures, especially women, got extra spectacles, a moustache, lips or eyebrows doodled with pens.

FROM THE FLIP SIDE OF LOOKING Once I consecrated to the study of art history in ‘the faculty of fine arts’, this picture-world receded as a matter from some obscured cultural confinement, an ossified pictorial stuff pertaining only to the cultural orthodoxies and mundane behaviors of a particular reading class. But the impact of those periodical images was so appealing and brittle that they need be consciously waged, otherwise will be shelved and disposed. To recognize their collective cultural functionality, it turned important to articulate their register. Interestingly, after decades long silence, the Malayali cultural public (editors, readers, writers) was perhaps feeling an irresistible need to acknowledge their modern art’s local operational mould, particularly the genre of literary illustration. By the late 1990s, the cultural scenario of the region turned on a celebrative mode for selected ‘illustrators’. Selective celebration of couple of illustrators was perhaps an act of cultural pride, but not yet convincing registers of visual culture agencies. In an effort to locate the undercurrents of visual modernity brought in by print-pictures, one need to historically contextualize the Malayali reader in his own pictorial materials. This would also be a vision from the unarticulated flip side, the Malayali looker”.

DR. KAVITA BALAKRISHNAN

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A PICTURESQUE PUBLIC DOMAIN

FIG 1 - PHOTO COURTESY - @ COVER PHOTO BY BABY THANKAPPAN, MATHRUBHUMI AZHCHAPPATIPPU, 25 JUNE 1961

Emerging through periodicals was a field of the public that kept on picture-capturing itself as readers or onlookers from a higher vantage point (Fig.1). Dreams of an epochal shift in sensibility were offered by the tools of generic illusionism and representation. Book was a dramatic object of the time where objectification of ‘the other’ generated various ideological subject positions for the ‘reader viewer’ in a picturesque public domain. The camera, the pen, ink and paint turned up as double edged tools that make up the ‘beauty’ of the land and break this beautiful eye’s various romancelooking practices into a demand for truthful record and vindication of reality (4). Some periodicals of 1930s declared visions ‘in our artist’s imagination’.

Presence of picture was a distinction for the periodical. In 1931, ‘Deepam’ -‘an illustrated journal’ advertised in Keralam magazine that it is the only ‘picture journal’ (chitrapatrika) in Malayalam. It claimed to be ‘a first-rate mirror’ accurately reflecting the events and incidents around the world. ‘Entertaining pictures’ (‘rasikan chitrangal’) and ‘amusing articles’ (‘sarasa lekhanangal’) were said to be the attractions of this magazine. These spectacles raised a confluence of visual tastes, creating contradicting promises of representation, truthful record vindicating reality as well as the challenges raised by tools and artistic abilities. The tool itself turns up as the greatest of artistic challenges. When the goat that is drawn, looks like a dog in the picture.

Soon something called an editor’s eye developed for the control of meanings and ever reinstating promises of print-pictures to vindicate reality.

There were editorial requests for photographs ‘immortalizing the moment from life’.

Representation and a fantasy of representation coexisted when the promise of true record is not contradicted, like in a photograph or possibly in a painting. When the thing that is referred is not what it looks like, as in a cartoon or caricature, a picture for light reading. Pictures-in-print could either be cultural items, or information that the editors choose them to. Some aesthetic and cultural guards were in place by late 1940s and early 1950s.

The ‘real’ is fast dubbed into fictional.

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MAKING OF A MALAYALI A private bliss of looking at emotional bodies was more entertained to consciously mark the discreet charm of ‘Malayali’ identity in the poster pictures(fig.2). Mindwatcher’s eyes turned up as a private-watch of people from a cordial distance. Highly self referencial ‘special society’ was formed. Other Indian regions were also doing it and the ‘Malayali’ quite picturesquely mediated a large group of literate middle class. That needed some unchanging and uncontested typologies of people and their ideals,marked by their vocations, caste, class, gender etc. in a split sensibility of high and low order.

The editors and readers opened up different pictorial featuring possibilities based on their placement in the order,their ideological mind-life and their capability to be carried away by a literary world that randomly merges fact and fiction. The editors, the competent cultural ideologues were mostly the upper caste male and they were basically the writing class. All others in the graded ladders of social empowerment were left with the sole power of looking, reading and being pleased by one’s own strange visibility through the other’s camera. (fig.3) (5) .So periodicals are not very organic spaces for them to exercise any autonomy of purpose. Thus a beautiful woman in a cover photograph turns up ‘my dearest’ for a reader. The male writer editor underlines the discreet charm of his own page as a site / sight of a cover girl’s desire in front of a mirror. At the same time, a woman’s lack of entitlement to writer lines and her ‘need to wait’ is also featured in the pages inside. The cultural momentum is conveyed, for instance by a laborer when it is a woman performing it. The visual momentum is sometimes conveyed by a human form using the sickle for a violent purpose. The fantasies of representation, the fictionalizing of one’s own act of looking are complex and they allude to the absurdities of a class of male writer people who wanted to assert their purposes as the same as that of some others like women, children, men of lesser order who still suffered from embarrassment in their obscured power to look and assert. A Malayali is made in a fantastic male gaze and editorial entrepreneurship.

PHOTO SOURCE @PHOTO FEATURE, MATHRUBHUMI ILLUSTRATED WEEKLY, JULY 1946 - FIG.3

COVER PICTURES OF MATHRUBHUMI WEEKLY - FIG 2

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FEATURE Illustration announced highbrow tastes by placing the drawings by Devan followed by othercontemporaries, A.Shivaraman and Vasudevan Namboodiri in 1960s. Both projected human figure as a carrier of his/her provenance making it the most authentic in a literate-media society.

Provincial body clarified with its emotions was supposed to give ‘character’ to the great fictional works of the post independent time.

Literature was illustrated for the self-referential purpose of a ‘picturesque public’ and its journalistic attitude. This was also an enterprise of artist’s negotiation with the dominant literate behaviors.

Readers who once kept looking at the page as ‘mirror’ of the world, now start looking at ‘other’s bodies’ as fictional characters belonging to their life. Picture magically captured the body by sketching, caricaturing, spacing, shortening, darkening, smudging and elongating tricks of an expert artist. The fictional work legitimated these visual activities of one’s mind. Namboodiri and A S tried all these techniques within the mould of academic figuration. There were also many unsigned, almost pornographic filmic illustrations – Though they kept the promise to magically connect the picture with life, they were unguarded by any cultural gestures. In them, looking was literally like a forbidden pleasure. The literary work was so pulpy that it was often unable to grant any aesthetic cultural sanction for the image. At the verge of it one finds pornography, a finality of pleasure, something that embarrasses the looker, removes a cultural power of looking. On the other hand, even when works up a voyeuristic gaze of the reader-viewer, Namboodiri attained a cultural distinction by consciously bringing in a modern art educational orientation of Madras school, his connections with major writers of the time etc. (Fig.5). He merged his affinities for classical traditions of performance and sculpture with his illustration drawings. All this could function as cultural sanctions of distinctions for an artist working in the ephemera.

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AN ANACHRONISTIC GRAPHIC NOVEL: SPECIMEN OF A CULTURE CRITIC From this discreet melting pot of cultural and peculiar liking, there must have emerged a necessity for a new form and technique to communicate critical self-reflection for this reader-viewer. Film maker G.Aravindan tied the knot to this wandering cat displaying vanities of harmony between writers and artists. Aravindan’s cartoon strip called ‘Cheriya Manushyarum Valiya lokavum’ (small men and the big world) and O.V.Vijayan’s cartoon pages ithiri nerampokku, ithiri darshanam (Bit of Pastime, bit of Vision) in Mathrubhumi Weekly exposed the reader-viewer’ to possible experimental modes of a graphic attitude.

Arguably India’s first graphic novel, Small Men and the Big World presented episodes that caught hold of modernism’s experience with culture and society through the other way round, the route of levity taking the reader through a predominantly visual way, towards a critical gravity, an intellectual desire for self- criticism that was weighing down upon the malayali cultural public in 1960s and 70s (Fig.6).

These full page strip cartoons were comic genres that were adaptable to the ‘insider interests’ of literature,journalism and the desires of a new middle class malayali men involved in a loud politics of culture; the one who wished to climb up the snobbish ladder of social privileges, one who faced utter unemployment, politically conscious voracious readers dreaming of the family, private property and socialist state, all in a single breath. It is a world of inevitable tragedies of ideological minds. There are people with whom the reader-viewers identified like the protagonist in the series Ramu, the unemployed youth who eventually turned into a business magnet or the pragmatic Guruji who advises him. Like literary illustrations, these graphic episodes also eked out an ‘in-between space’ from this culture public, another genre of art mixing gravity and levity.

Inspite of this almost naturalized ‘connect’ with the bigger world, the erosion of ideals is the paradoxical framework in which one perhaps continued to find Ramu, also certain malayali public. A section of its writers, artists, thinkers, readers and the lookers were found in the crucible of a political culture sprouting from largely unauthenticated mind-life of critical awareness in a small human locale vis-à-vis the world .The young painters and sculptors of the radical group of 1980s had by and large projected a political aesthetics of this social condition in the discourse of artist subjectivities in modern India.

In spite of this ground-breaking graphic fiction work, the Malayali publishing industry still doesn’tpromote this genre well as a contemporary medium of culture criticism. A lively public of selfassured writers, thinkers, and readers emerged in 20th century Kerala while another public of artists,lookers and mind-watchers were only categorically gratified and relatively discounted by this lively public led by writers and publishers. An independent graphic authorship is still in wait. A graphic attitude pervades as a signature of the contemporary in book cover designs and the illustrations of a few youngsters, K. Sherif for instance.

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COMIC STRIP CHERIYA MANUSHYARUM VALIYA LOKAVUM BY G ARAVINDAN, MATHRUBHUMI AZHCHAPPATHIPPU

FIG.6

(DIS)CONTINUITIES The technical and cultural prowess of ‘the picturesque’ refused to recede even in the post- modern time. Illustration lost the charismatic support of literature in 1990s. The Malayalam edition of India Today magazine had randomly brought forward a host of young artists to occasionally illustrate not only literature but even the current affairs reporting. Only an illustrator of earlier generation, Namboodiri, survived because he was working out a matrix of desire and representation in the malayali looking public. The active agents and respondents were reading-class men, especially those with a considerable cultural pedigree in this society (7) . Illustrator’s established role as literary interpreter was in fact fetching its purpose from a signifying system of fictional emotions and sentiments on the axis of sheer familiarity and the axis of pleasurable watching habit. Namboodiri’s drawings by habit were projecting a ‘cultural eye’ that went ahead of a people-watcher, the reader of the novel, and informed him of literature in some manner or the other. Literary information was still looked upon as an immediate text of the real life. Illustrations worked in an apparently ‘open and liberal’ society where women, no matter profile or frontal, submissive or assertive, were not simply the illustrator’s but the writer’s and the columnist’s delight 8 . Literature and Namboodiri’s illustration in 1990s did not necessarily harmonize anywhere but variously converged in reader-viewer’s sustained curiosity in the human body and its behaviors.

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Illustrative purposes were thus carried away from the domain of culture or literature into the imagined domain of pure viewing. The cultural eye liked to experience the rhythmic movement of painter’s brush /hand ‘as giving real life to fictional characters’, just like one looks at men and women around; grotesque, or grandiose, or classical, even ordinary! Illustrator functioned in public domain, both real and metaphoric, as an artist-performer. He is also often found in the real public spheres as a jugalbandi performer of sketching in tune with music or other stuff. He is celebrated as ‘India’s leading Illustrator’,though non-existing is such a connected national culture discourse of regional illustrators in India (Fig.7).

The sketches of the performance forms like Kathakali, were found running across the page.

The legendary characters of epic dimensions were found as thoughtful muscle men, or it could be men with familiar destinies but haunted by problems of the epic scale! Since 1980s, Namboodiri had pulled these threads of gazing at characters, into further pleasurable realms.

There, illustrator reoriented his cultural charisma around some fetishistic themes, women, kathakali, nature etc. Namboodiri’s illustration in 1980s could condense the most difficult details of the figure and posture into a simple contour. It could evoke anything between the classical and the popular iconography to illuminate the experience alive of the ‘character’ in the verbal text. Illustrations thrived on this twisting game rather than getting historically fixed for its problematic of ‘secondary status’ in the discursive purview of literature or a culture of modernism where writers outsize the artists. It is a paradox that Namboodiri’s expert integrations were only presented to a readership that tended to ascribe his professional techniques to another basic (literary) text, not to his ‘artistic’ manipulation of a visual culture.

CENTER SPREAD COLUMN ON NAMBOODIRI, MATHRUBHUMI WEEKLY, 21-27 JANUARY, 1996. - FIG 7

PIC COURTESY @WIKIPEDIA ARTIST NAMBOOTHIRI 2011 - PAINTER SCULPTOR

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FEATURE The looking habit of the reader-viewer is just retained in the local cultural memory, not yet surfacing as a culture register of visual modernism in India even when Namboodiri was one of the participating artists in the second edition of Kochi-Muziriz Biennial of 2014. There was no hint that this is an artist from a specific problematic of the ‘cultural ephimera’, not from the cultural autonomy of artist-practices otherwise found in the list of Biennial artists. In the first edition of Kochi- Musiriz biennial, 2012, my ten year long researches and the archival materials were further selectively documented by a team called ‘varavazhi’ and there held an archival show, ‘Revisiting the Print-Pictures’. It was a curious archive floating in a gallery. But ‘the critic’s register was missing in that show also.

Then I realized that by choosing to investigate, write, curate and expose the contra-dictions within a very extensive corpus of archival materials, I am also a reader-viewer, a critical participant of contemporary times.

THE MISSING ‘CULTURE CRITIC’ OR THE OBSCURED READER-VIEWER

CONTRA-DICTIONS AND CONTEMPORARY NATIVES: TWO CURATORIAL SPECIMENS FROM CONTRA-DICTION SHOW, COLLABORATIVE WORK

BY CHITRA SUDHAKARAN AND KAVITHA BALAKRISHNAN, 2015 -FIG 8 ART4YOU MAGAZINE | 35

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A fellow member in the Varavazhi team, Chitra sudhakaran also was getting all too conscious of being a ‘looking woman’ who is bemused by the tableau of fictitious self-images in a Malayali metaphoric public domain, the periodical pages. The editorial / curatorial / entrepreneurial reader-viewers function in a discreetly male dominating field. He has mastery for evading a dissection of the metaphoric public domain that would often perhaps twist their sentimental exotica into an absurd and funny vision. This possibility led us to further collaborate in a project called Contra-dictions. In a pursuit of regaining the power of representing the absurdity of our female self in this picturesque public, we mimicked and parodied our own status as ‘contemporary women in Kerala, inheritors of this visual culture’. The works were photo-romances in quite amateurish fashion since we pointed at an easy everyday practice (Fig.8). These were housed in a deserted village office which was earlier a bungalow that was once used by William Logan while writing the Malabar Manual. This project was curated at a rural art context of Mathilakam in Kerala, as part of an independent segment in the second edition of the Chilappathikaram Festival that was originally initiated in the first edition of Kochi Biennial. As part of that rural art project, Abul Kalam Azad, the contemporary photographer based at the temple village of Thiruvannamalai and running Ekalokam Trust for Photography, also did a project of his own, titled ‘Black Mother-Contemporary Heroines’(Fig.9). It was photo-documenting the contemporary women in Mathilakam village. It seemed like a critical male reader-viewer’s contemporary vision. In his photo-works Azad employed the language of studio photography while infiltrating a dispassionate gaze of anthropological documentation. Here he seemed to be working around a re- representation of contemporary women as ‘native subjects’.The critical mutations of gender perspectives in the representational languages of the reader-viewer’s visual modern legacy exposed and amazed the self-reflective viewers of these art projects. These two collaborative and curatorial specimens are referenced here as part of my ongoing effort to expose and historicize the much obscured identity of the regional ‘reader-viewer’ in visual modernism and its role in defining the modern art history of India.

INVITE OF THE SHOW, BLACK MOTHER –CONTEMPORARY HEROINE .

ALAM AZAD, IMAGE COURTESY - EKALOKAM TRUST FOR PHOTOGRAPHY - FIG 9

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NOTES 1. Sumathi Ramaswamy Beyond Appearances? Visual Practices and Ideologies in Modern India, Sage,2003.

2. Robin Jeffrey, ‘The three stages of print – testing ideas of “public sphere”, “print capitalism” and “publicaction” in Kerala’. Presented in the 15 th Biennial conference of the Asian Studies Association of Australia, 2004.

3. John Heartly, ‘The politics of Pictures: the creation of the public in the age of popular media’, Routledge,London, 1992.

4. Vindication of reality was a cultural as well as commercial strategy, cultural in terms of publishing a photograph related to mundane life, and commercial in terms of an evocative idea for building trust of the client. For instance, an advertisement of Thiruvithamkur Rubber Industries Company explains the specimens of damaged tire, tire while under resoling work and the tire ready after resoling, vindicating the magic of machines in their factory through a photograph showing three tyres.

5. The photo feature in Fig.3 follows the drama in the life of a young girl of 1960s, excited and waiting to get the weekly that carries her name at least in an amateur’s literature section.

6. Before Devan, an artist called M Bhaskaran, who belonged to the earliest generations of artists who went to the Madras Art School in 1930s, was working up various kinds of pictorial attitudes, cartoons, picturesque drawings, caricatures, condolence pictures, features etc – these were all contradicting promises of representation that an editor called M.R.Nair experimented with. This editor-artist duo created plenty of ‘common-man’s mind watches, often outside the realm of idealisms but in fanciful and picturesque romances. Bhaskaran was but an enabler( not an editorial counterpart of the magazine) of M R Nair’s picture-puzzles with textual attitudes in his short lived magazines.

7. A female writer Priya A.S has depicted this voyeuristic male viewer / reader of ‘Namboodiri sketches’ in a short story named ‘Namboodirichitram’ . In the story, a ‘male’ viewer is posited before a painting that is done by a woman. He is sarcastic about the way a female artist portrays a female figure. It is ‘unattractive’ in his terms because it is not as sensuous as a ‘Namboodirichitram’.

8. ‘Illustration’ of a character called Chinnammu in a story was much loved by the author V.K.N and he admiringly declared in praise of the illustrator in a personal letter to him, “if this ‘chaste harlot’ is so excellent, she is my property, Can you please send her to me?” remembered by Namboodiri in his memoirs, Rekhakal, DC, p-108.

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ART AND THE QUESTION OF AUTHORSHIP AND OWNERSHIP IN THE INTERNET ERA

By Narendra Raghunath ART4YOU MAGAZINE | 39

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In this article, Narendra Raghunath, Visual Artist and faculty, Srishti Institute of Art, Design and Technology, Bangalore draws on personal experience and discusses the complexities of authenticity, authorship and ownership rights of art and the image in the contemporary art world.

A couple of years ago, I received an odd request from an unknown person in New York, to authenticate two works of mine.

The work looked like mine, except it had some colour fading. It also had my name on the left bottom part in English, as I often write. The only problem was I had no Idea of such a sale or transfer. On further inquiry, I learnt that he sourced the work from a struggling Indian art student. During those days, if anyone would image search my work, Google strangely enough, showed a popular Hollywood actress’s name! This Indian student smartly used that opportunity and somehow managed to convince this poor chap that this actress was a big collector of my work.

During that period, I also had a website where I occasionally published some of my explorations with the caption that ‘none of the works are for sale’. This smart student utilized all these to his advantage to fleece this investor – for a cool $4,800 - for the downloaded prints. But, once the collector began to have doubts about the signature in the authentication letter, he contacted me for verification. The entire episode filled me with mirth. I informed the buyer that there was a colour issue with the print and offered to send him a new set of prints of the same works with my pencil signature (courier costs to be borne by the collector). He happily agreed, and as I did not want the Indian student to get caught in a serious crime in the US, I left it that.

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LEONARDO DA VINCI: MONA LISAMONA LISA, OIL ON WOOD PANEL BY LEONARDO DA VINCI, C. 1503–19; IN THE LOUVRE, PARIS. PIC COURTESY @ EVERETT-ART/SHUTTERSTOCK.COM

This entire episode provoked me into a deep philosophical question of authenticity of authorship and ownership of an artwork. History of art is filled with stories where the artists and their families died in poverty while their work, later on, made many others billionaires.

If one would Google, one will find millions of photographs of the same artwork with million others’ copyright watermark on it. Cropped differently (composition) with altered colour schemes and digitally enhancements; most of them render the original work into oblivion. Before one jumps into an ethical or moral judgment about the entire affair, one may have to consider some serious philosophical artistic issues involved with image making in this entire affair. Allow me to explain in detail.

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What is original in art - Labour/craft or concept?

This is a complicated question. In Western art, from the days of guild during Renaissance to today’s postmodern artists, a large section of artists would not be able to claim authorship of the craft of labour. Most of them are made to order or are supervised. So, one may have to safely discount that claim from the originality of art. Then comes the conceptual authorship. Usually in an artwork, there are three ways an artist executes an artwork – translation, transformation and transgression. Considering these three areas are largely dealt by curatorial conceptualization in postmodern art, it leaves very little room for the authenticity of authorship of the artwork.

Whereas in a film the director is only one of the authors in the creation of the film and due credit is given to others in the process of film making. In art, unfortunately, a single individual as the artist often claims the whole authorship. One would not hear the name of the craftsmen or other people involved in the execution of artworks.

There are many conceptualizations involved in every artwork- technical, spatial, curatorial and finally aesthetical conceptualizations. In other words, it becomes a problematic argument when one considers the authenticity of authorship by a single individual.

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Work of art and its image reproductions As I mentioned earlier, on the Internet one will find millions of image reproductions of the same artwork with hundreds of copyrights for the photography. In other words, the authenticity of the authorship gets separated from artwork in its image reproduction as a photograph.

Considering both are artistic mediums and artists execute both, one cannot claim the authorship of the other. In other words, one has the artistic liberty for a selective recreation of another artwork in its image reproduction!

From Greek time onward, this viewer prerogative to reinterpret an artwork as observer in observer- observed and observation triangulation is already a settled subject. This makes the authenticity of authorship complex phenomena in art world. If an artist makes claim of authorship on a craftsman’s labour in transforming a media (kindly note an artist is not selling art but sells its material transformation) and a photographer claims authorship of its image reproduction and then a digital media artist claims authorship of reproduction’s reproduction, in today’s contemporary art world authenticity and authorship becomes a complex issue.

From that US-based Indian student (although I do not know who this person is) I started experimenting with transgressing into master’s works to transform them into historical and theoretical artworks. Still, as I am an old school ethics follower, I do not claim ownership of these works. I only claim the viewer’s transformative inference authorship in such artworks.

My experiments are still going on, getting more and more insights into this complex world of authorship and ownership. Considering no collector or buyer can claim ownership of art but can only claim the ownership of artwork, in today’s world these collectors cannot claim ownership of its image reproduction, unless and until they commission it or buy its rights.

Considering artworks are reproduced in critique and reviews in textual format and it is legal, artists cannot take away the viewers inference right in image format as well.

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FEATURE

SAURA ART: An Ancient Indian tribe's tale through its captivating art

BY SURABHI BALA

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FEATURE

The captivating Sauras art has been telling the tribal tale for hundreds of years, with basic form s and figures that come together to compose complex narratives in very few colours. A tribal artform from eastern India, Saura art began on the walls of village homes with its ritualistic origins to become one of India's most beautiful art forms of pride.

The Sauras are one of the oldest tribes in India, inhabiting the southern region in Odisha. The Sauras are known for their distinct tribal culture and art with a background that has been stated in the Ramayana and Mahabharata. A community deeply connected to nature, their surface art seems to be a simplified representation of daily life in the village. But the Sauras art is rich with symbolism and significance, and it is through these pictures and their understanding that the people of Saura hang on to their traditions and culture. For the Sauras who have no script in their language, their art is a record of their history , philosophy, and religious traditions.

SAURA ART PAINTNG BY MANAS DAS

"A brush is made of a bamboo break for wall paintings, black color is obtained from soot created from lamps, sundried rice is crushed to white powder and all these are mixed in water, and juice from roots and herbs to create a paste.

The eventually received color is black & white."

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FEATURE Saura art is usually made on the villagers' red or brown clay walls, with natural colors made from dirt, white stone, and extracts of flowers and leaves, using a tender bamboo brush. The paintings are typically dedicated to Sauras' god, known as Idital, and are made during special occasions such as harvest, birth, marriage, etc...The characters in Saura 's artworks are called idols or images, and many of them are recurrent motifs and metaphors, such as humans, the tree of life, the sun and moon, goats, elephants, many of which have their own significance. Historically, only priests were able to render these wall paintings. They would also describe their origins to the village residents, passing on local traditions and beliefs in a special oral tradition.

HOW SAURA IS DIFFERENT FROM WARLI?

ETHNOLOGY AND ROCK ART IN INDIA SAURA ART IN COLOR/ WALL ART IMAGE SOURCE @BRADSHAW FOUNDATION

Saura seems to be the exact twin of another, perhaps better known form of Indian tribal art-Warli. The two art styles are often identical, consisting of similar geometrical shapes, often in similar shades of earthen colours. Still, there are minor variations between the two, from the arrangement of the structures to the shape they are positioned in, which distinguishes each form! Boundary is first drawn in a Saura painting after which the interiors are filled which is called the fishnet technique. The Saura forms are broader and more elongated than those found in Warli art, without any visible distinction between male and female shapes.

The pictograms are divided into various parts according to their significance and intent. Usually the painting portrays the everyday events of Sauras life. Saura figures are less linear than the Warli figures, where the human form is defined by two sharp triangles merged at the apex.

WARLI ART PHOTO CREDIT @NISHA

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FEATURE

SAURA MOTIFS ON SAREE, IMAGE SOURCE JHARONKA.COM

IN THE MODERN WORLD

In the 21st century Saura art underwent several transformations. An art that started on mud walls as murals, now it's everywhere, from sarees to notebook coverings. It has recently acquired a decorative appeal, with many purchasing Saura art for their homes.

Saura artists have also begun working with more compact materials such as canvas and paper for modern technologies such as acrylic s and pen and ink. Another fascinating trend in Saura painting, as seen in other Indian tribal art forms as well,is the gradual inclusion of western elements in the depicted images and subjects.Looking at a simple art form that has been untouched for years is also a beautiful thing, and then seeing a bus in the painting, drawn in modern style, standing perfectly in place.

SAURA ART IN WALL HANGINGS PIC CREDIT @DHOKRA

Saura art is not only stunning to look at, it is also interesting with its eye-catching imagery and cultural meaning, as the voice of a tribe expressing its own story in a manner that is authentic and original. One of the most interesting tribal art forms in India, Saura is a gem that contributes too much value to the tapestry of the cultural diversity in India.

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A R T I S T

S T A T E M E N T

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ARTIST STATEMENT

CONNECTING THREADS

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ARTIST STATEMENT

BY STEPHANIE NEVILLE I grew up surrounded by textiles and traditional crafts, though I only started exploring fiber / textile arts in 2012 – using thread to express myself artistically. In the collection here not here (2012 – ongoing) my focus is on absence in a relationship and the resulting myriad of emotions, and how I can use threads to conceptualize my message.

Residing in the UAE with its transitory lifestyle, I question the effect of this migration on relationships. My husband travels extensively and I find myself fluctuating from a singleton to a wife with him being here and then not here. There is a re-adjustment that takes place with every return: a change in routine and lifestyle attitudes.

She is her art and her art is her” (Doyle 2002:112).

Seminal authors researched are Rachel Ward, Rozsika Parker and Sara Method.Ward examined the effects of short-term workrelated separation in relationships.

Physical absence changes the “interpersonal boundaries” between partners (Ward 1996:11). The “exiting and re-entry” may result in an increase of illnesses, loneliness, distrust, frustration and anger in the partner left behind (Ward 1996:21-26). Ward also mentioned the positive effects: increased autonomy, enjoyment of private space, selfconfidence, learning skills and fewer trivial arguments (1996:29). In Parker’s The subversive stitch: embroidery and the making of the feminine (1984), she examines how sixteenth century embroidery was associated with chastity, solitude, submission and femininity. It was seen as an acceptable pastime for women, as Method(2008:15) expands: “because it kept the hands and minds active, not allowing for impropriety that could come from idleness”.

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ARTIST STATEMENT

CONNECTING THREADS PHOTO SOURCE @STEPHANIE NEVILLE

This traditional technique relates to my concept as the premise remains relevant living with an absent partner in the contemporary era. Through my personal experiences,I examined transient relationships with which others in my community and beyond may identify. I drew inspiration from artists Ghada Amer,Tracey Emin and Chiharu Shiota. Emin’s art is described as “confessional, that it is personal and tautological….She is her art and her art is her” (Doyle 2002:112).

Inspired by her urgency and honesty, my work is a visual expression of emotions and personal thoughts. Ghada Amer creates explicit embroideries from a feminist viewpoint commenting on cultural identity, abstraction and religious fundamentalism and Method argues that Amer challenges the view that embroidery and crafts are connected to the female submission. I look at Shiota’s installations with frames and suspended threads for inspiration.

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ARTIST STATEMENT

I created a series of hand embroidered portraits and texts. Through stitching by hand I am translating the obsessive, constant thinking and missing of an absent partner:trying to stitch together life and memories. The movement of the needle- in and out,translates the cycles- here/ not here. The fraying of the thread relates to the loss of memory and the negligence of the relationship. Unfinished portraits signify the interruption of routine with his return. The mixture of abstract and semi-realistic portraits is connected to my emotional response at the time of stitching. I used a water soluble stabilizer as ground for the embroidery, which allowed me to preserve only the stitched thread.

The removal of the ground conveys the isolation and disconnection between partners while the residual thread denotes the memories left behind. The added text is a mix of keywords from traditional wedding vows, and opposing words/ thoughts that surface during relationships. The use of empty frames reminiscent of a domestic milieu denote the passing of time, signifying the lack of memories made and the missed opportunities for future memories to be made as a result of absence.

The concept of the effect of absence on relationships is relevant to my contemporary world. By drawing from personal experiences, I was able to explore the emotional confusion of being in a transient relationship. The continuous cycle of coming and going is reflected through the mediums chosen. My preferred artists all show a tendency towards autobiographical work with fearless confessions. This has inspired me to give an honest representation of how I deal with my emotions. My work may resonate with others who live with their partner’s exiting and reentering. Here one minute, then not here the next: it is this cyclical absence that form the premise of my concept as depicted.

PHOTO SOURCE @STEPHANIE NEVILLE

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ARTIST STATEMENT

ABOUT Neville employs traditional handmade techniques such as embroidery, sewing, knitting and sculptingto express a feminine approach to conceptual art. Her work deals primarily with identity,embodying themes of feminism, diaspora, memory, absenceas well as sustainability in terms of the environment and interpersonal relationships influenced by the transient lifestyle of the UAE. She has won various awards and have exhibited internationally,with works in personal and public collections.

BIBLOGRAPHY Doyle, J. 2002. The effect of intimacy, in The Art of Tracey Emin, edited by Merck, M. Townsend, C. London: Thames Hudson LTD: 102-118.

I grew up surrounded by textiles and traditional crafts, though I only started exploring fiber / textile arts in 2012 – using thread to express myself artistically.

- Stephanie Neville

Merck, M. 2002. Bedtime, in The art of Tracey Emin, edited by Merck, M. Townsend, C. London:Thames Hudson LTD: 119 – 133.

Merck, M. Townsend, C. 2002. The art of Tracey Emin. London: Thames Hudson LTD. Method, S. 2008. Hybridity, fragmentation, and translation in the embroidered sculptural works of Ghada Amer. Master of Arts thesis, University of Notre Dame, Indiana, USA. Ward, R. 1996. The Effects of Short-Term Repeated Work-Related Separations on Pilots, Cabin Crew, and Their Partners. PhD Thesis, Massey University, New Zealand.

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ARTIST STATEMENT

“SIGNS, SYMPTOMS AND SYMBOLS”

BY PETER FARRINGTON

In 2008 I uprooted myself and moved to the other side of the planet after finally giving in to the steady stream of clear signs I had been receiving for over 1 year.

My comfortable and fulfilling life focused on the environment and family in Canada soon became one filled with mystery and wonders. Immediately upon my arrival in Oman I took to photography, and soon started painting, inspired by the many incredible trips around the country with Omani and expat friends. I even coauthored an archaeological study I did with a still close friend from the Czech Republic. Then I moved to Dubai; an experience I cherish so much. This was a real step up in terms of energy. Crazy, amazing times. Not surprisingly, my spiritual awareness began to rise. The signs grew in strength and frequency. My paintings were like Tarot Cards. It couldn’t get any more dramatic than this I thought. But this was just a warm up it seems for March 2020, when the Covid19 virus officially arrived. Suddenly the signs changed to symptoms. We were in lock-down, social distancing, wearing masks and gloves, disinfecting everything in sight while doing our best to work or study at home, for those lucky enough to. To say many were feeling nervous and fearful is an understatement, especially given the ever changing and conflicting news about this threat, which seemed to spread in all directions faster than the virus itself. Instead of years for societal shifts to unfold, this one took but a few weeks.

Instead of an event affecting only me and my family; this one was touching everybody and every living thing on the Planet.

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ARTIST STATEMENT Incredible!

I have lived mostly on my own for the past 12 years and rarely pay attention to the news; meaning adapting to lock-down was a simple transition physically, mentally and emotionally. My office shifted well to remote working and the level of ongoing support from management and colleagues to this day has been high. And while symptoms of the virus were present every day, and in every way in our lives, I count myself as one of the lucky ones in most regards. It has been an intriguing time to observe and feel Covid-19 impacts. Shortly after the lock-down started I began to wonder if I was experiencing signs or symptoms?

Was one replacing the other or were both acting together? The energy was far, far different.

And things were really changing, evolving. It was a bit confusing but also exhilarating.

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ARTIST STATEMENT

My habits, interests and thoughts changed too. In March I did one painting, then stopped. The desire and feeling disappeared totally forever 3 months, a record for me by 2 months since I started painting 7 years ago. The energy I was feeling now was too intense, too fast, too dynamic to capture on canvas. The skies were stunning, nature was everywhere; overwhelming. By the time I had started one of my paintings, which I do intuitively, the feeling had shifted massively several times. So much .so that the final product was a complex and confusing layer of imageries. I began photograph. A lot as I tuned into my environment.

I used the built in phone apps to explore the photos revealing many wondrous forms; like hidden messages .I stopped eating flesh of any kind, soon eggs followed and now no more cheese and cow’s milk. I can’t explain why, it just happened. The world opened up on line. I spent many hours chatting and listening to people in Argentina, Oman, Canada, USA, Italy, Colombia, and India; wonderful the way these connections happened.

But then last week I had the urge to paint again. Wow! Without thinking or planning (which is my normal approach),I quickly painted star or cross like symbols on my two small canvases. I had no idea why, but I continued to follow this direction. I wondered what these paintings meant;I ask out loud to myself now as a habit. Soon I got the answers from random You tube videos that popped up an hour or so later. Everything happening so fast now. The symbols I painted were just like the portals in the movie I was watching. When lined up properly they open a gateway to another place and time.

It made so much sense.This is where I believe we are at now on this planet. We are in this state of transition from oneway of being and life to another. Covid19 has been an important and necessary catalyst for this. I have little doubt. So I wonder what is next? Perhaps my next painting or those of other artists will provide some clues.

Can’t wait.

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ARTIST STATEMENT

TOM LOHNER The Story:

Since 2015, Tom Lohner is a proud self-employed artist, with his own management, two assistants and a camera team backing him. All launched with a sold out solo exhibition in Vienna. Another highlight was the creation of the stage and brand art work in fall 2016 for Austria’s famous traditional Almdudler costume ball in Vienna’s city hall, counting 10.000 visitors as well as a nation wide broadcast boosting his career again in his own country. From then on Almdudler’s brand owner Thomas Klein joined the popular collectors circle.

Artwork for Strongbow / cider (marketing tool).

At the beginning of 2017, Hard Rock Cafe decided to host the exhibition of Lohner’s latest works titled Art Of Hard Rock by Tom Lohner, where he transformed 13 iconic rock stars into animals; the premiere event was organized by UK’s Rolling Stones management LD Communications and toured throughout other Hard Rock Cafe’s in Europe that year.

Showing his broad diversity he was invited in February 2017 by Europe’s biggest festival for old music, the ZAMUS Festival to perform a live painting in Cologne’s prestigious Balloni halls, while surrounded by an orchestra on stage in front of 250 selected guests, playing Vivaldi’s fours seasons. Tom’s interpretation of Antonio Vivaldi art work decorated numerous newspaper title pages and went on TV again.

The same year in which his manager Klaus Billinger and himself opened their Bakerhouse Gallery.

Photo by Tom Lohner - Award Winning Austrian Artist

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ARTIST STATEMENT December 2017 Tom created a Santa Clause which was used commercially for UK’s most prestigious Christmas market „Greenwich Winter Time“.2018 begun with a Europe wide release of the Tom Lohner brush series produced and hand made by the largest brush manufacturer Davinci - Defet in Germany and a personality award from the Austrian LGBT community.

Later that year he was invited to donate an art work of his to the memorabilia collection of the Hard Rock Cafe Vienna; a painted homage to the famous Austrian band OPUS placed next to Alice Cooper’s guitar. Funny enough only a few months later the same musical artist (Alice Cooper) took his own Tom Lohner portrait back home to the States when they played a show at Burg Clam / Austria. September that year Tom created a piece for Austria’s most famous Tennis player Thomas Muster, ex. rank one of the world players.

End of 2018 two commission pieces for Austria’s biggest folk- and pop stars marked a highlight; one for Andreas Gabalier another one for Bernhard Speer (of Seiler and Speer). Gabalier commissioned him in 2019 to create a new sujet for his stadium tour throughout Germany, Switzerland and Austria.At the start of 2019 a Tom Lohner painted tram started to run it’s daily schedule through the city of Graz / Austria an entire year long. This project was commissioned by Austria’s largest newspaper, Kronen Zeitung who used parts of the art elements for their new campaign, generating nation wide PR, a 12 page extra spread and a title page on their newspaper.

ARTWORK BY TOM LOHNER Tom Lohner, an energetic and award winning Austrian artist and rising star in the art world famous for his imaginative depiction of pop culture, believes that the single most important ingredient in any artistic process is passion.

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ARTIST STATEMENT Due to great success, early that year „Tom’s gallery“ opened a branch in Germany, showing his and his artist companions at various art fairs. Mid of April the renowned and traditional K&K Hof - Bakery created an own new Tom Lohner biscuit collection, designed with five Tom Lohner interpretations of famous Austrian emperors. Do to popularity and high demand overseas the product is now also available in Japan.

In June 2019, Tom did the Cover Artwork for the Single “Pump it up” by Austrian Superstar Andreas Gabalier and Austrian Icon Arnold Schwarzenegger. He also did the cover of the 10 years anniversary CD for Andreas Gabalier. For his sold out anniversary Tour he also made a Video for the Song “Kaiserjodler” together with London based award winning company CC-Lab. At the start of that year the gallery he is partne with opened a new branch in Germany. Traditional K&K Hof - Bakery created an own new Tom Lohner biscuit collection designed with five Tom Lohner interpretations of famous Austrian emperors, also available in Japan. In December of this year, he broke into the US market by exhibiting at the Miami Art Basel Week / featured work at own booth (Spectrum Art Fair). 2020 a further art show was planned: The Art Expo New York, this time again - a solo booth, but due to the current Corona Virus the event was postponed.

Another great art project with actress Rose McGowan began that year, visualizing the current Corona situation.

The final piece should be painted and mounted on to a great wall in the heart of Vienna. With the start of February, four Tom Lohner branded diner restaurants opened up throughout Austria that run by the name of "Heinz“.

American Rock Enthusiast Residing in Europe: Tom Lohner’s love for the rock culture, as well as his appreciation of the more recent post-industrial music and aesthetics, is more than evident in his work, which is partly dedicated to some of the most popular rockers. With his charming sense of humor, he likes to call himself a US sunshine rocker coming from the old fashioned, historical Austria. His colorful and extremely imaginative work is capable of transforming the well-known faces of celebrities into entirely different landscapes of colors and shapes and because of this playful approach along with the technical excellence, his work has been appreciated and showcased internationally in more than 50 solo and group exhibitions.

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ARTIST STATEMENT In 2008, Tom Lohner has co-founded a design & art collective called LosLohBros, together with his brother Andy. Both brothers were really diligent and passionate artists, which resulted in a number of successful exhibitions. Eventually, both of them have moved to London in March 2010, so they could grow as artists and create artworks which meet the highest standards of design and illustration. Soon after moving to London, Lohner received an amazing offer for the position of art director at London-based TV-production agency CC-Lab. This agency is known for the collaboration with high-end clients and music stars, such as the Rolling Stones, Lady Gaga, David Bowie, Prodigy, Fatboy Slim, Smashing Pumpkins and Maroon5.

After he accepted this brilliant offer, Lohner started working long but great hours.

Despite the fact that his days became shorter, the creator never stopped working on his own projects. He kept true to his art and continued organizing numerous international exhibitions. His work was showcased in the finest galleries in Vienna, in giant art shows in the United States, but also in pop-up galleries in Japan.

HISTORY

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STYLE

ARTIST STATEMENT

Where passion pulls – follow. Never question this – it may be the only chance in your life to be truly alive, the artist claims.

Lohner’s painting style is a refreshing combination of the traditional medium of acrylic colors and futuristic aesthetics, achieved by a certain cyberpunk and post-apocalyptic twist.

The artist doesn’t shy from neon colors or well as earthy tones, such as electric blues and violets, paired with appealing geometrical patterns, which are basically made to be worn by movie stars. Lohner considers it a mighty mix of Walt Disney’s and Tim Burton’s characters along with Quentin Tarantino’s suspension of telling stories, all Art Deco inspired.

The additional magic ingredient that binds everything together is powerful post-industrial music movement.

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M U S & E U M

H E R I T A G E

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MUSEUM & HERITAGE

BALAJI'S ANTIQUITIES AND COLLECTIBLES: SECRET JEWEL OF BANGALORE

BY ART4YOU EDITORIAL

GILDED BRACKETS WHICH RECLAIMED FROM DAMAGED ALTER FROM CHETTINAD

PHOTO CREDIT @JESSICA JOSEPH

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MUSEUM & HERITAGE

REMINGTON TYPEWRITER 1970

PHOTO @JESSICA JOSEPH

Rolling down the lane, one of the Chickpet neighborhood 's oldest streets in Bangalore feels like a classic Indian scene stereotyped in so many movies — people, traffic, animals, and a nice dose of color and noise mixed with each other. A flight of stairs is an oasis of peace in a by-lane off this street-the quaint supermarket, Balaji's Antiques & Collectibles. Collectibles, furniture and art pieces from various ages light for room on the many racks, walls and floor. For a shop specializing in antique products, the environment is hardly overwhelming. Instead, the place and owner Balaji, welcome you to discover and enjoy the joys of discovering something beautiful and storied.Balaji's Antiques wasn't always a luxury goods shop. It originated as a shop selling what is today one of the antiques icons-gramophones.

More than 35 years ago, when Mr Veerendra Heggade,the Dharmasthala temple administrator, decided to establish a museum for the devotees of the temple, it was Balaji 's father who entrus ted him with the task of collecting artefacts. Over the years, Balaji and his father provided the museum with items ranging from ships, vehicles, and aircraft to antiques.Balaji,in his search for antique objects, remembers the many fascinating expeditions his father embarked on. "My dad bought a whole antique train from Kolkata in early 90's," says Balaji. "He spent three months in the train every night before it was delivered to the museum, to deep the pieces from being stolen!

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MUSEUM & HERITAGE

EXPLORING MR. BALAJI'S ANTIQUE SHOP, KARNATAKA STATE, INDIA

D.G. BALAJI - OWNER IMAGE SOURCE @ BALAJI'S ANTIQUES & COLLECTIBLES

Balaji was very fond of antique collectibles because of his father. "When I was in tenth grade in the 1980s, I sold my first collectible,"says Balaji. Balaji brought the collection to another level,while his Dad collected only for the museum, and produced Balaji's Antiquities in the 1990s with just one table and nothing else.He has collected and sold numerous collectibles, and has amassed an ancient world of knowledge.He also takes his father-one 's good counsel, but has not topic during compilation, since it contributes to irritation and Two, ever setting up on the destination for a collectible trip.

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MUSEUM & HERITAGE

"MY GRANDFATHER FOUNDED SEETHAPHONE CO. THE VERY FIRST GRAMOPHONE STORE IN KARNATAKA STATE," BALAJI SAYS

BALAJI HOLDING A RITUAL SPOON USED

BY DESSAI COMMUNITY PIC-JESSICA JOSEPH

In each Nook-music boxes, cameras, camp furniture,World War II armor sets, Sculptures, Morris vehicles, tin toys-there are also some offbeat ones,including mercury-filled glass,Christmas decoration kugels, sulphide marbles, exercise weights that the people use centuries ago. Balaji feels it's about keeping their aura because it keeps creativity alive and sounds alive.

In fact coming here is akin to visiting a museum with someone fabulous to tell you stories about each antique, artifact or curio.

RALIEGH BICYCLE - NOTTINGHAM ENGLAND 1949/50

PHOTO @JESSICA JOSEPH

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MUSEUM & HERITAGE

WOIDEN GILDED KINNARA , SOUTH INDIA

PHOTO @JESSICA JOSEPH

HMV MODEL -102,

PORTABLE GRAMOPHONE

1930

PHOTO @JESSICA JOSEPH

"In this company knowledge is the most important thing,"says Balaji. "It is the first thing I encourage inexperienced collectors to understand. I advise the m not to do something until they have studied it throughly.

VINTAGE MID CENTURY RADIOS & SEWING MACHINE @JESSICA JOSEPH

Balaji notes that over the 4yrs, more knowledgeable buyers have been pursuing approved antiquities specifically.

He sees Indians still buying Indian art and things that he feels are really interesting, as enthusiasm has been for Western or external products before.

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MUSEUM & HERITAGE

AIR INDIA PROMOTIONAL MERCHANDISE 1960/1970

Balaji’s Antiques & Collectibles Founded in 1924, family owned company based in the older part of Bangalore City, supplied props for the 1984 period drama -A Passage to India. Owner D.G Balaji works with collectors from around the world and can source almost anything imaginable, from original movie posters to battle plans of Tip Sultan.The shop is crammed full of artifacts and treasures,rosewood ship chests, Thanjavur paintings, gramophones, campaign furniture, Burmese Lacquerware, Ravi Varma prints etc... They specialize in South Indian art works like Ravi Varma lithographs, rare bronze artifacts, Mysore,Tanjore paintings, India maps.They also deal with colonial and ethnic furniture as well as theearlymodern inventions such as mechanical collectible, watches, and tiny toys.They travel widely in South India and, with thorough research, have managed to acquire rare objects, historically famous and important works of art for museums like Dharmasthala (South Kanara), the Omega Museum (Geneva) as well as for private collectors.

PHOTO CREDIT @JESSICA JOSEPH

PENTAGON - EAST GERMAN CAMERA 1950/60 PHOTO CREDIT @JESSICA JOSEPH

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MUSEUM & HERITAGE

PRIMITIVISM & AFRICAN SCULPTURES

BY AJAY VASUDEVAN African sculptures are famous amongst collectors around the world, and offer tremendous insights into the cultures and tribal communities from where they originate. Often figurative, they typically depict the human form. Usually fashioned out of wood, they may have religious or spiritual references. This sculpture of a man, carved using indigenous African wood, has intricately carved details and striking features. The collectible is most likely from the 1970s, and its origin can be traced back to either Cameroon in Central Africa or Mali in Western Africa.

A analysis of the history of African art reveals that the oldest types of sculpture found come from Nigeria and date from about 500 BC. The absence of archaeological excavations, however, prevents knowledge of African art's antiquity and the sheer utilitarian value of the raw materials used in the production of art artifacts suggests that over time an untold wealth of parts has disintegrated.

The basic subject is the human figure and strong formal qualities were exhibited with strong design features creating balance and harmony.

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MUSEUM & HERITAGE

LEFT : AFRICAN SCULPTURE /CENTRE: STANDING POSE/ RIGHT :EBONY WALL HANGING / PHOTO CREDIT @ARTISERA

The earliest known sculptures are the remarkable terracotta pottery heads, most of them fragments of figures, from the Nok culture of Nigeria and are dated around 500 BC through to 200 AD.They are made from grog and iron rich clay but none of them have been found in their natural settings and they demonstrate that strong abstract figural representation has existed in Africa for over 2500 yrs.

Their strong formal elements and expressive quality places them at the start of the African sculptural tradition. They are remarkable for their sense of caricature and have a strong sense of style showing elaborate hairdos and ornamentation. Nok terracottas currently occupy an important but isolated space in African art history.

Wood carving remains today the primary sculptural art form of the sub Saharan continent.

African art history shows the earliest wooden sculptures from the 17th C are attributed to the Kuba, central Zaire but the earliest surviving sub-Saharan sculpture is a zoomorphic head found in 1928 in Central Angola.

It is dated to the 8th-9th C and survived being buried under the water table.The finest examples of surviving wood carving date around 1920, some collected as early as 1890 and generally gathered before 1945 while tribal art was still very much in practice.

African art history has had untold influence on the global art world.

The spontaneity of intuitive, ethnic art imported from Africa and other styles, which were erroneously and derogatively described as “primitive” and “barbaric”, began to be recognised as possessing great emotive power.

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MUSEUM & HERITAGE

While the first to take an interest in primitivism were painters, the main influence was on art. Andre Derain, the Fauvist painter, also taught himself to carve limestone in order to create works in the primitive style. The following are among the finest works of art produced in a primitive way:

GREATEST SCULPTURES IN PRIMITIVE STYLE Oviri (The Savage Woman) (1891-93) by Paul Gauguin.

Crouching Figure (1907) by Andre Derain.

The Kiss (1908) by Constantin Brancusi.

Woman Dancing (1908-12) by Ernst Ludwig Kirchner.

Sleeping Muse (1910) by Constantin Brancusi.

Red Stone Dancer (1913) by Henri Gaudier-Brzeska.

Crouching Woman (The Farewell) by Henri Laurens.

Baboon and Young (1952) by Pablo Picasso.

Divided Head (1963) Easter Island-style bronze sculpture by Cesar.

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A R T A R T& I S T

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BRIDGE TO ARTIST

ISOLATION AMIDST THE CHAOS By Dr. Hafsa Banu Abid ART4YOU MAGAZINE | 73

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BRIDGE TO ARTIST

Art in any form is quite intriguing ,as a passionate artist I always wanted to experiment and try new mediums and how I could take forward to create something different and one such genre was Nail and string, a different category of artwork which doesn’t represent a painting nor a sculpture but a identity of its own. I came across it as a simple project but my curiosity to try more with this medium led to my main genre. I still aspire with endless ideas to innovate more with this.

A few words on how this kind of technique was invented and evolved.String art has its origins in the ‘curve stitch activities invented by Mary Everest Boole at the end of 19th century wherein she used to make mathematical ideas more accessible to children, later this technique attained popularity as a decorative craft.

The basic concept of nail and string art will always be placement of nails equidistantly and simultaneous connection of these nails with a string according to the artist’s ideas. It can be a geometric form ,a linear way or a criss cross method .I try to incorporate all the forms to bring the needed effect on my artwork.

At times when I work with portraits I do try to add more density with threads where I need a deeperor intense effect.

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Surface /materials: As a self taught artist and my need to innovate, I have tried a lot of materials in my artwork.

The wood being the main part ,I have tried with panel board to solid wood and also log wood, but mostly I work with panel board of different sizes to a thickness of at least 12mm to work as my base priming of the wood is very crucial part for my work,a wood primer and paint to create texture is as important as is the time required to let the texture dry on it, any kind of moisture will effect the outcome of your base work.

With the base ready it’s time to put my idea to work mostly as an outline pattern drawn directly on the base or on paper and placed helps to give me head start on my work. The next choice of materials would be the nails, with my experience I am most comfortable with panel,pins/nails, gives me the desired rigidity for the strings and the depth needed in the board. The strings is the tricky part.I experiment with a lot of materials like nylon , cotton, silk, polyester and also metallic wires, each kind of string has its own effect and own its own rigidity and effect.

I believe in always innovating something new ,so I mix a lot of medium to string art ,from portraits to calligraphy to nature artwork, a 3D piece which keeps pushing my limits and yet awakens my creative self with new ideas on the next masterpiece .This genre is what as an artist like me gets the satisfaction from and I am so glad I could take this to another level .

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REYI AHBOHS yb LARUM RAVHSEERANAHDRA

BY SHOBHA IYER

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Shobha Iyer is a Dubai-based self learned Indian Contemporary Artist.

Her career in painting, as a creative artist, began with a fascination for colors and color variations.

She began integrating vibrant colors that bring painting lovers positive energy and visual enjoyment. While her devotions were primarily based on Oil Paints from the beginning and reflected her curiosity in diverse media such as acrylic, mix media and fabric paints. It was also a very positive thing for artists. In the nature of the materials used to paint her imagination,she never compromise, as her art work is supported by the fact that it portrays a beautiful albeit longstanding craft.

Over the last years I've been working on wall art because works of art involve minute details and a tight structure. Since such inventions require intense patience and dedication. It takes months for each of my works to finish and to reach the happy final product, which gives the production a magical effect. Any of my wall paintings below display the passion and devotion to this special traditional art development!

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KERALA

MURAL

Origin Kerala is a southwestern state on the Malabar Coast of India. Kerala mural paintings highlight the saintly devotion of Kerala. Kerala mural paintings are the Frescos depicting Hindu Mythology and legends which are drawn on walls of temples and churches in South India, mostly Kerala. One unique aspect of mural is that physical architecture of the surface is incorporated into the artwork. The earliest known murals existed in the Paleolithic era, discovered in caves in southern France.

Traditionally Kerala mural started dating back between the 9th to 12th centuries .Gajendhra Moksha is the largest painting existing in Kerala (in the palace walls of krishnapuram in Alaphuzha). The famous Gajendra Moksha mural in Krishnapuram, which measures fourteen feet by eleven feet, memorializes the pastimes of Vishnu and Gajendra.

Above : Kerala mural it’s origin and style- Krishna

"Although the Kerala Mural originated in the 9-10th century, the art proliferated from the 15th century onwards."

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History The mural of Kerala drills deep into legends of Puranas, of Ramayana and of Mahabharata and shows gods, as Vishnu and Shiva in all glory. The mural topics have been taken from religious texts. The mural of the Palace and the Temple are filled by glamorous pictures of Hindu pantheon gods and goddesses. Flora, Fauna and other natural features have also be en depicted as backdrops.

Mural depicting Gajendramoksham in Krishnapuram Palace

Style & Surface The murals of Kerala unfanthomably stands out for their prominence in beauty, clarity and symmetry with unmatchable linear accuracy. The tradition of Kerala mural painting is unique in the world and it’s extremely rich in symbolism , made only with natural mineral pigments, the colours represents the qualities of the 3 Gunas1) Sattva, 2) Rajas 3) Thamas Sattva-purity which is usually painted in green colour, the figures painted with green are those, for whom knowledge is chief characteristic.

RajasThe spur to activity, is predominant And , are painted in golden yellow.

Tamas - intertia, the least pure is curiously expressed by white.The traditional colours used in this art are red, yellow ochre, green, blue , white & black.

The traditional style mural art firm uses natural pigments and vegetable colours. But today the colours used are synthetic colours which are bright.

Making of mural It starts by applying gesso layer to prime the area to be painted. The area is then chalked out with numbered grid, which is used to translate the scaled down image design to the mural site.

Finally the mural is painted using fine thin brushes for intericate lines and dots for the depth with multiple layers of paints to create the image.

Conclusion Modernization had influenced the art and artist to a large extent. In the olden days these mural paintings were painted on the walls of temples, palaces & churches.Now it can be done on any surface like paper, canvases, TFT boards and are being tried on terracotta and lately on fabrics too...The mural art drawings or designs have retained their traditional styles, all the mediums has been shifted to synthetic paints instead of natural pigments. The unique feature noted in the mural is the excellent color combination which influences their over all asthetic appeal.

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"The oldest of the murals found in Kerala are those in the Thirunandikkara Cave temple now a part of Kanyakumari district in the neighbouring State of Tamil Nadu."

Above : Shiva Parvati mural

Image : Drishti Ganesha mural

Every mural is a testament to the depth of dedication the artists have to their art. The temples and palaces of Kerala are all a visual treat wherein the sagas of ancient Hindu Gods and Goddesses unfold. The murals of Kerala evolved through the significant influences of ancient Dravidian rituals like Kalamezhuthu and Patayani. The murals of Kerala are unparalleled in their subtlety, sharpness and ethereal beauty.

Mural Paintings by Shobha Iyerl

Kerala Wall is an exquisite souvenir, a symbol of the natural elegance, stylishness and purity and piety.This patience helps to transcend civilization and the time devastation through this artistic form. Paintings of Kerala Mural are treasure-filled memories of the history of Indian art.

Of note, Kerala 's divine past offers us the glorified heritage of India. These paintings address the distance between India's past and current past.

The mural is an art of seraphic decoration.You could even study them.However,the validity of this art is very few locations.

Image : Mural Dancer

Image : The Powerhouse of money (Goddess Laxmi) Size - 32x24"

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BLUE GANAPATHI MURAL by SHOBHA IYER

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3 2 CIP IJHTANIRHS - GNITNIAP IAWHCIP

DIVINITY RADIATING FROM PICHHWAI ART By

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3 CIP IJHTANIRHS - GNITNIAP IAWHCIP

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Artist :Sonal Johar Pichhwai(pichvai) is a style of painting that originated over 400 years ago, in the town of Nathdwara near Udaipur in Rajasthan, India. Intricate and visually stunning, Pichhwai paintings, made on cloth, or on the wall are created by depicting the story of Shrinathji, another form of Lord Krishna holding the hill Govardhan. The story contains a beautiful history which represents the power of one of the most significant incarnations of Lord Vishnu.

" The unique word Pichhwai comes from the Sanskrit words, ‘pitch’ meaning back and ‘wais’ meaning hanging."

When Indra, the lord of rains, showed his wrath on the people of Vrindavan, Lord Krishna lifted the Govardhan Mountain like an umbrella and saved the inhabitants – the cows and cowherds, from Indra’s fury. Indra was humbled and the people started worshipping Govardhan, the giver of rains and green pastures.

Legend has it that in 1409 AD, an image of Shrinathji, the mountain lifting form of Krishna, was discovered when a cow worshipped the lord with offerings of milk. A temple was established there and was held in high reverence.

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PICHWAI - SHRINATHJI PIC 1 / PAINTING BY SONAL MADAN JOHAR

In the year 1671 AD, in anticipation of the Mughal king Aurangzeb’s raids, the temple was shifted to Rajasthan,where it could be safe in the hands of the Rajputs.

Maharana Raj Singh decided to provide refuge.Along with Shrinathji,the lord’s sevaks – the priests,confectioners,cows and their caretakers and the Pichwai painters also went along. They stopped in Eklingji in Rajasthan, where there was a momentous temple of Shiva, but since two temples of great importance cannot exist in one city, they moved on further. At one point, the bullock cart got stuck in the ground and would not budge. So it was decided to establish the temple of shrinathji there in the city of Nathdwara, ( Nath – Lord, dwara – gate) meaning “the gates of the lord”. This laid the foundation of The Shrinathji Temple in Nathdwara , Rajasthan, in 1672.

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PICHHWAI & BEYOND The unique word Pichhwai comes from the Sanskrit words, ‘pitch’ meaning back and ‘wais’ meaning hanging. It refers to a unique form of pictorial textiles made specifically for use as backdrops in the shrines of Shrinathji (Shrinathji ki Haveli) in Nathdwara, hung behind the deity to celebrate different seasons, festivals and events in Lord Krishna's life. The central theme depicted in Pichhwais is Shrinathji for Lord Krishna which is the deity manifest as a seven-year-old child.

Symbolic expressions are involved in various Shringars of Shrinathji. There is a significant focus on large eyes, big nose and fat belly The U-shape tilak on the forehead represents the impression of Radha’s foot and the lotus garland is symbolic of Radha’s heart which Shrinathji keeps close to his own heart as an acknowledgement of love and dedication. The small Yamuna water container placed on the pedestal represents mother Yashoda and the throne on which the image rests is Yashoda’s lap. The lotus-shaped eyes of Shrinathji are also compared with Kamadeva’s bow.

Other common subjects found in Pichhwai paintings are Radha, gopis, cows and lotuses. Festivals and celebrations such as Sharad Purnima, Raas Leela, Annakoot or Govardhan Puja, Janmashtami, Gopashtami, Nand Mahotsav, Diwali and Holi are frequently depicted in Pichhwais. The most exciting part about this contemporary wall art is that they can be modified easily depending on the occasion.

Steeped in Tradition: "Creating a Pichhwai can take several months Constituting an essential part of Pushti Marg worship, Pichhwais are exuberant outpourings of adoration of Krishna that add visual dimension to the already elaborate service to the deity. The Pichhwais are multilayered with respect to the Pushti Marg worship, constituting on the one hand the day to day adornment of the sanctorum of the shrine; while on the other hand they are deeply symbolic – artistic expressions of deep religious faith and devotion of the devotees.

Part theatrical backdrop,part religious icons, they are made manifest by the celebratory spirit and desire to surround Krishna with all the luxuries and comforts available, rooted in the tenets of the sect. The purpose of Pichhwais,other than artistic appeal, is to narrate tales of Krishna to the illiterate. Temples have sets with different images, which are changed according to the calender of festivals celebrating the deity.

The making of a traditional painting takes a considerable amount of time, ranging from a couple of weeks to months and requires immense skill, as the smallest details need to be painted with precision. Great artists first sketch this conventional art on hand spun starched cloth, and then the beautiful image is created, painted and printed in brilliant colours or woven with hand blocks.

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BRIDGE TO ARTIST A good Pichwai is distinct by the divinity radiating from the bhav of the deity’s face, which is said to evoke pleasant feelings in the onlooker. Other things to note are the vibrancy of the colours, the intricacy of the miniature work, and quality of the cloth/paper used. Pichhwais are meant to set the scene and invoke the mood for worship, and are changed according to time of day, different seasons, and festivals that hold significance in Krishna’s life. The Lord is often depicted as Shrinathji in Pichhwai paintings, which is his manifestation as a 7-year-old child.

The classic styles are generally made with natural colors and even natural brushes. The base is mostly red cotton cloth woven with yellow or any other bright colored embroidery. The focus is mainly on using intense and bright colors such as red,yellow, green, black along with a border beautified with a gota, dabka work or Swarovski. The most beautiful ones are mainly made of brocade and heavy silk; embroidered; painted and dyed; tinsel printed; block printed; machine made lace, even filled with pure gold – they all constitute a resplendent addition to the unique textile arts of India. The popularity of the elegant style is defined by its unique color palette and fine details.

Not only is this textile art held sacred, but the process of creating it is a form of devotion for the Nathdwara chitrakars or artists.The artists live in Chitron ki gali (Street of paintings) and Chitrakaron ka mohallah (colony of painters) and make a close community with constant interaction. Often a Pichwai painting is a group effort, where several skilful painters work together under the supervision of a master artist.Pichwai have become the main export of Nathdwara and are in much demand among foreign visitors.

PICHWAI - FESTIVAL OF COWS

Over time, Pichwais also found a place in the homes of art connoisseurs, owing to their visual appeal. The ‘notso-famous’ art form is therefore not only found in temples but also in homes and across the world. The best part about these paintings is they there are no rigid rules on hanging them on the wall. Besides adorning the backdrop of the walls of the temple, these paintings do not carry any religious beliefs. Over the years, artists have started making comparatively smaller versions of the pictures than the larger ones. And now these newly created versions can be bought by art lovers as home decor or for an art museum. This beautiful journey from temples to homes shows the love of people for Indian art, history and culture.

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CONVERSATION WITH SONAL Q1. Can u explain a little bit about your journey as an artist?You call yourself a selftaught artist, right?

A1. Yes, I am a self-taught artist. It all started when I saw a friend doing Lippan art.The original method seemed too strenuous,but the inspiration was huge,so I developed my own way of making it. The applause from friends motivated me to carry on this passion forward.

Q2. Tell me a bit about your muse, your inspiration and your thought process.

A2. Madhubani Artist Bharti Dayal’s works have inspired me the most. The traditionalmotifs and patterns of India, the rich culture and heritage, traditional art forms from different parts of the country stimulate my thought process. A glimpse of a beautiful pattern sets my mind rolling and does not settle until I create something out of it.

Q3. Can u explain more about the traditional way you create the process in your works?

A3. For me the concept is traditional but it is transformed into artistic yet, contemporary modern art through novel methods. The traditional ways use natural and organic dyes and colors, specially treated cotton cloth, special nibs,natural brushes, twigs, kalams, etc.

But I use normal brushes, canvas and acrylics to translate my ideas into a piece of art. The process starts from sketching, coloring, giving surface texture effects and finishing with stonework and then varnishing.

Q4. What inspires u? Where do u find ideas for your work?

A4.

For me the source of inspiration is infinite universe.

Sometimes a design on a roadside hoarding is enough, at other times, detailed research on motifs and patterns help.

Q5.Are there any artists u admire?

A5. Bharti Dayal for Madhubani is my idol.

PICHWAI PAINTING WITH SHRINATH JI AND OTHER DEITIES PIC COURTESY @KISHANGARH STUDIO

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Q6. What was the first artwork u sold? How did it make u feel?

A6. Krishna in Peacock feather was the first painting I sold. It elated me and gave me the confidence to devote my heart and soul, my mind and energy into my work.

Q7. What can we look forward to from u next?

A7. A series of 25 plus artworks,inspired from the basic motifs which are the foundation of many art forms, textiles, architecture, culture and heritage of India.

Q6. What was the first artwork u sold? How did it make u feel?

A6. Krishna in Peacock feather was the first painting I sold. It elated me and gave me the confidence to devote my heart and soul, my mind and energy into my work.

Q7. What can we look forward to from u next?

A7. A series of 25 plus artworks,inspired from the basic motifs which are the foundation of many art forms, textiles, architecture, culture and heritage of India.

Q8. Tell us about a piece of work u have fond memories of and why? (it can be a show or any specific piece...pls share that image too.)

A8. Shrinathji 1(Pic.2), is close to my heart as it was spiritually inspired. I could not believe that I could create such a work. I could feel the universal force making it happen through me while creating that piece.

BIOGRAPHY I am a Dubai based Indian artist, who is fascinated by Indian traditional art forms like Pichwai, Madhubani, Lippan, Warli and Gond art. My philosophy is the famous quote of John Keats:"A thing of beauty is a joy forever. My objective is to make a contemporary attempt on long existing traditional art forms of India and relive them by incorporating them into modern interiors and architecture.

THE HAVELI OF SHRINATHJI/ TEMPLE MAPS PIC CREDIT - WIKIPEDIA

I aspire to create art whose beauty has the power to remove darkness and negativity around us and give our soul a sense of hope, peace, serenity and tranquility. I use traditional motifs and designs in my creations, which have their own heritage value and are closely linked to natural, cultural,religious and spiritual elements of society. With my visually grandiose intricate artworks, which are traditional and artistic, yet contemporary and modern, I wish to deliver an experience of joy and pleasure to the onlooker.

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P E A OF R L S

A R A B I A

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FATMA LOOTAH'S WORK PHOTO COURTESY @ARTIST

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ART SHAPED BY MOMENTS OF SPONTANEOUS CREATIVE EXPLOSIONS By Chitra Sudhakaran

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IN

Above Text about the article photo would fit perfectly here.

CONVERSATION

WITH FATMA

LOOTAH

FATMA FATMA ABDULLAH ABDULLAH

LOOTAH LOOTAH

Born in Dubai, the United Arab Emirates, she studied art at the Academy of Arts in Baghdad and at the American University in Washington DC Since 1984 she has settled in Verona, Italy, where she has held many joint and personal exhibitions. She has also performed live shows in many artistic festivals in some European and Arab countries. Lootah who moved to Italy more than 20 years ago sees herself as a “bridge” between arts in the West and in the Oriental world. “My Emirati heritage and my culture are clearly reflected in my creations and my artwork,” she said.

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Q1: Let’s start at the very beginning. All of us, who have been following your works, have read that Emirati Heritage, as well as being born and raised in Dubai during the early formative years of your life, have had a strong impact on your artworks and aesthetic sensibilities. However, we would like to know how it all began. When and how did you discover your passion and aptitude for art? What would you consider as a turning point in your career as an artist?

A1: I started my art journey at a very young age.

I did not have much practice or training back then. However, I felt a strong inner push to explore art. Of course in art you need, what we call in Italy, ‘mestiere’ (mastery of craft). But at the same time, more than the craft, I have always felt that it is this inner push that fuels the spirit or soul of art.

FATMA LOOTAH'S WORKS PHOTO COURTESY: fatmalootah.ae So, after I started experimenting with small drawings and paintings, I had this unquenchable thirst to go and study art. So at the tender age of 16, I left for Baghdad. It is at the University of Baghdad that I really owned my craft. This is where I learned the fundamentals like, “What does a line mean?

What more can it mean? What else can be done with it?”. As I said, the craft is important, especially in the beginning, but craft alone is not enough. The inner fire is also very important. After completing my studies at Baghdad, I left for the States. The university that I studied in the United States of America had an extremely flexible structure. More than classes and training they focused on practice. They had an open studio from nine in the morning till five in the evening. So I would just go there and do and do and do. This is where I first discovered the beginning of Fatma Lootha, the artist.

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PEARLS OF ARABIA Q2: For someone who shies away from labels, you have been adorned with quite a few of them. Critics have described you as a bohemian,eccentric & controversial artist. Abu Dhabi Music & Arts Foundation calls you “ UAE’s only cultural ambassador ”. You are irrefutably one of the most popular female artists, from the UAE, whose artworks have been featured extensively on international platforms, including the New York’s Times Square.

Given the same, how would you describe your artistic journey so far?

A2: Well, those who assign labels to me have not done so to my face. I believe that art in its truest and natural form is so simple and beautiful, that it does not need any labels or definitions. When I create, I don’t necessarily create just for myself. Yes, my art is my meditation. I do cherish the peace and silence as well as the meditative experience in art. However, my art is primarily for other people and not for me alone.Perhaps it is because we do not have a pronounced history of art in this region, I feel that we have had a slightly strained relationship with visual art. It was not always evident or at the forefront in our culture. While I am influenced by the rich culture, tradition and beauty of the desert, my aim has been to bring art and beauty to the people of the Emirates. I remember when I held my first Art Show in the Emirates. It was an exhibition of abstract paintings. And I remember that not more than 10 people visited that show. So the challenge has been, ‘How to make art accessible and relatable?’ If no one sees or witnesses your work, then it’s just you painting or creating for yourself. I feel that drawing inspiration from the desert and the natural surroundings can make it easier for the audience to understand and relate to the artworks.

There is also a strong element of Art Education in my practice. How to make people understand that they need to sit down, take time and look at an artwork to fully experience it and get the most out of it. When an artist creates an artwork, it is the manifestation of the explosion of the creative energy that has been gestating inside him or her. And in order for the viewers to experience this creative energy, to its full extent, they have to invest time and really look at the paintings. So, yes, a major part of my art journey has been focused on how to help people understand what art means to me, and also what art means in general.

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FATMA LOOTAH @PHOTO COURTESY: fatmalootah.ae

A3: Many artists feel like they are special or different. I, however, believe that art is a gift from God. I am grateful that I can create.

Through my art, I always express the gratitude that I have towards all those who have supported me. For me, my art practice is not a means to show off my skill or talent.

Instead, for me, it is the way I show my gratitude to all, starting with my master. I usually enter my studio with no preconceived notions. As I have often said, I strongly feel that it is the soul that paints or creates, not the head. I then just start working with the canvas and colours that I find in my studio, giving myself fully to the experience without trying to think about what lines or shapes will come out. It is always the moment that shapes the painting for me. This is why I always say that it is not about what you think should be on the canvas, it is about what your soul wants.

Q3: Simon Sinek once wrote, “It is not logic or facts but our hopes and dreams, our hearts and our guts, that drive us to try new things.” You have been an artist who has always experimented and refused to be boxed-in or defined by a single style. From your work with performance arts during the 1980s to the celebrated abstract paintings, and most recently, the figurative style that features in your latest works, you have a rich body of work that spans across a wide array of styles. Although all your works have a distinctive ‘Fatma Lootah flavour’, you appear to be constantly reinventing yourself as an artist. Could you please share what inspires and drives you, as an artist?

Q4: After HH Sheikh Mohammed bin Rashid Al Maktoum visited one of your exhibitions in 2010, he gifted you a house since he felt that you should have somewhere to work on home soil. In what ways have the Emirates and the art scene here influenced you and your artworks?

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A4: The Art Scene here is extremely varied and complicated. Honestly, I have not exhibited extensively here in the country. All the same, the region is extremely close to my heart, and I have been trying to do the best to serve it.

Also, I wish and hope to give back to the land that has given me so much. It has given me my sense of beauty. The colours that I use in my paintings are inspired by its natural landscape. The desert has always been a place of mysticism and inner quest. It is where people go to find answers about the soul. And I draw inspiration from its majestic beauty and power. Therefore I focus more on being grateful for all its gifts, and strive to give back beauty to the people of the Emirates.

ARTIST FATMA LOOTAH BESIDE HER ARTWORK

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PAINTING BY FATMA ABDULLAH LOOTAH

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“MY EMIRATI HERITAGE AND MY CULTURE ARE CLEARLY REFLECTED IN MY CREATIONS AND MY ARTWORK” - FATIMA LOOTAH

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ART OF WELLNESS

How to Make Space for Your Creative Intelligence

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ART OF WELLNESS

How to Make Space for Your Creative Intelligence Did you know that every single one of us is highly creative? Creativity isn’t for a select few. Whether you are conscious of it or not, you are creating all the time at the level of thought.

All that’s needed to unlock your Creative Intelligence is a little space for peaceful solitude in your daily life.

What follows is a little look into how to do carve this out for yourself.

What’s the Big Deal About Space?

Can I tell you about the first creative space I set up as an art therapy student? It was at an international preschool which had tactile areas to stimulate the children’s senses along with open spaces for exploration.

My professor instructed me to create a blank white space within all that busy-ness to conduct children’s art therapy sessions in. I hung long white curtains to form a tiny rectangle “room”.Nestled by a wide window in the corner of the preschool, I tucked a wee children’s table, stools and art materials into the cozy space.

Immediately, curious children began poking their sweet small faces in between the curtain openings referring to it as “The Cloud”. “The Cloud” became a sought out place of peace and quiet in the preschool.

Not only for the children, but for teachers, students,and cleaning staff too!

I learned that each one of us needs spaces of solitude in our loud and busy world. While “The Cloud” was a seemingly simple physical space made from a few white curtains, it provided a vital key that I want to pass to you now.

Are you ready?

Silence and solitude give you access to your potential-filled inner world where your Creative Intelligence resides. Only from this silent vastness within can you sense and imagine something new to come through you.

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“But I’m Not An Artist!”

If you are someone who thinks you’re not creative it’s essential that you come to recognize who you truly are. You are a creative power house and the artist of your life.

Look with me at creativity from the perspective of art therapy. Keeping it easy here, let’s pause for a moment and take a good look at those two words – art and therapy.

See the word “art” and simply notice what pops up in your mind. Perhaps famous artists or galleries.

Now, release these as they aren’t useful here. For sure, they have their place, just not for where we’re looking.

I wonder if you might consider “art” as energy in motion. Imagine a preschooler racing out of the classroom holding a dripping wet painting of raw emotion. This is the “art” we all have access to through the doorway of play!

Now let’s take a look at that second word -“therapy”.

Meet Corry MacDonald

"The Latin root “therapia” literally means to “attend to”.

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The Latin root “therapia” literally means to “attend to”. As you open space for your Creative Intelligence, you are attending to your growth and transformation.

I can think of nothing better to attend to!

Can you? Your Creative intelligence unlocks when you attend to your creative center your heart.

Creative Space List: *Inviting quiet area to be alone in *Device free silent space *Soft light either from a window or a lamp *Comfortable chair at supportive floor cushion

a

desk

or

a

*Creative materials for writing, painting, composing, movement etc. * * * Once your list is complete go and create your space today. Don’t delay! We need you to tuck into it and to play your creativity out for us all to enjoy. Your innate Creative Intelligence is a gift to you and to us all.

Make space for it, inside and out, every day!

About Corry MacDonald Corry is a Creative Healer integrating her training as an art therapist and energy healer into her advanced cognitive coach training. With nearly a decade of cross cultural experience, she helps awaken people to their Creative Intelligence so their challenges can be transformed through her signature creative method to access infinite potentials.

Curious how to create inner calm?

Do you know you have the innate power to pivot your stress-filled problems for the infinite potentials they hold?It’s my joy to show you how!

www.corrymacdonald.net

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N A E R W T S

ISSUE 01 | SEPT 2020

IN THE NEWS

The Arts Center at New York University (NYU) Abu Dhabi has launched its sixth season as a fully virtual event. Beyond Video: first fully digital season!

LEFT: The event will run until Dec. 10. e / Image supplied.

6th Saudi Film Festival : The sixth edition of the Saudi Film Festival, being held virtually from Sept. 1-6 showcasing as many as 25 films, organized by the King Abdul Aziz Center for World Culture (Ithra) in Dhahran in partnership with the Culture and Arts Association in Dammam and is supported by the Ministry of Culture’s Film Commission.

RIGHT: Poster of the sixth edition of the Saudi Film Festival.

Christie’s Dubai is holding a charity auction to help Lebanon rebuild its cultural scene in Beirut. The online auction, staged under the title “WE ARE ALL BEIRUT — Art for Beirut: A Charity Auction,” will be held in late October to the first half of November 2020.

LEFT: IMAGE COURTESY - CHRISTIES (Supplied)

Palestinian National Museum art show opens in Paris: Works by the first couple of photography, Henri Cartier-Bresson and Martine Franck, as well as the street artist Jef Aerosol are featured in “Colors of the World,” which runs at the Arab World Institute (IMA) in the French capital until December 20. (Arab World Institute) RIGHT: The Arab World Institute in Paris, France. (Shutterstock/TK Kurikawa) ART4YOU MAGAZINE | 105

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IN THE NEWS

A museum in Spain showcases Caliphateera Islamic craft. From the Andalusian city of Cordoba, the Museum of the Omeyan Guadameci Spain travels back in time to display exhibits by Jose Carlos Garcia.

LEFT: Jose Carlos Villarejo Garcia, the last remaining artist specializing in Guadameci Islamic art. (Supplied)

Flying Saucer: Sharjah Art Foundation(SAF) is reopening The Flying Saucer on Sept 26, 2020. The newly renovated Brutalist structure, which was constructed in the mid-1970s and modified over the decades to house various businesses, has been restored to its original architectural character, and new contemporary spaces have been introduced.

Enjoy outdoor exhibition spaces, including a café and library, as well as the building’s futuristic architecture which draws on the space-age influence of 1960s and 1970s Western literature and popular culture.

RIGHT: Pic Credit @www.sharjahart.org Robert Bechtle, Photorealist Artist Who Pushed Painting in New Directions, a giant of the Bay Area scene associated with the Photorealist movement of the 1960s, has died at 88 this September. He was born in San Francisco in 1932.

LEFT :Robert Bechtle, View of North Adams, 2006. ©ROBERT BECHTLE/ COURTESY GLADSTONE GALLERY A New documentary film is being released, featuring British contemporary artist, Steve McPherson who, for the last 25 years, has been picking up pieces of plastic from the beaches of his home town in Margate, Kent and turning them into extraordinary and complex artworks.The film is the work of filmmaker Julian Hanford, and was shot in and around Margate in 2018/19. It is a moving yet creative look at what is a major pollution issue for our civilization.

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IN THE NEWS

CAMBASS GALLERY Founded in 2015.

Cambass Gallery, Cedritos Sector, Bogota, Colombia.

By Eliana Padroza

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IN THE NEWS

Under the direction and curatorship of the cultural manager Eliana Pedroza, this space has been in charge of making visual and visual artists visible, whether consecrated or emerging, through individual exhibitions or in many collective occasions at national and international level.

Through art, it has also sought to transform the community and unite families with its painting, sculpture and holiday courses and workshops. Among the most important achievements are exposed in situations as important as the Congress of the Republic of Colombia and the National Council, in addition to participating in the framework of Art Basel in Miami and the Museum of Bayonne in New Jersey.In its evolutionary concept, it has always given great value and importance to strategic alliances within the artistic and cultural sector, achieving greater impact and adding value to its projects and exhibitions.

Currently, due to the Covid 19 process, there is a new possibility of transforming a totally virtual new space. Thanks to the alliance with Art New York at the head of CEO Edwin Salgado, the only platform worldwide at the service of plastic and visual artists, La VR application through the VR Cambass application, new exposure opportunities are being generated for millions of artists who have run out of places to exhibit their works.

On July 20, the VR Cambass Museum was launched, articulated to more than 25 countries with a large exhibition of around 160 important artists and many cultural organizations around the world, including Clean Trash Project led by the artist Mauricio Mayorga, Art4You Gallery with its founder Jesno Jackson, Arte sin Fronteras por La Paz with its director Cesar Rincón among others.

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IN THE NEWS

Cambass Gallery is in alliance with Art New York at the head of CEO Edwin Salgado, the only platform worldwide at the service of plastic and visual artists, La VR application through the VR Cambass application.

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IN THE NEWS

WHY A SPECIAL CONNECTION WITH ART

BY EMMA CHIARAMONTE

My name is Emma Chiaramonte and together with my husband Michele Moschetto, we are the Founders of AVA Gallery.

We have always been passionate about art.

This painful moment for the whole world has forced all of us to reflect and at the same time to rethink art on another point of view. We have always believed that art is based above all on the direct contact between the Artwork and the viewer and we believe that this aspect should never be changed.

FOUNDERS AVA GALLERY MICHELE MOSCHETTO & EMMA CHIARAMONTE

A special connection is created between the observer of a work or an object of art, and this happens by presence. But this painful period for all of us forced us to look at the world and our activities from a different perspective.

Personally I studied piano and I graduated in piano so first music and then art have had an important part of my life.

The uncertainties have accompanied us constantly and daily, above all because the news was horrible news that we were not even remotely prepared for.

The realization of the project together with Alessandra Giorda did not need a great preparation because we agreed on practically everything. We immediately decided that we couldn't take a step back on how we should talk about the topic: in the simplest way possible.

In this scenario, certainly not foreseen and foreseeable, we had the idea of developing something new that kept us busy and that could bring a little lightness to the days of those who listened to us, but without being intrusive. The truth is that before thinking about bringing lightness to the days of art lovers we had to bring lightness to our days.

Anyone had to understand the topic they were talking about during the episode and not just an art critic or a music critic. And that's how "Journey between and Art and Music" was born. Ours was a project we have always believed in and the thousands of talk show views from all overthe world have paid off.

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IN THE NEWS

PIC FROM THE EXHIITION FAIR IN DUBAI BY AVA GALLERY

JOURNEY BETWEEN ART & MUSIC It was exciting to talk about art and try to convey with a video what our personal feelings had been, and certainly not so simple. I cannot hide that "Journey between Art and Music" was an experience, and it continues to be an experience that gave lightness to both the listener and above all to us who prepared it.

Covid 19 has taught everyone something: someone close to us has left us or many have lived far from their relatives. Covid 19 taught us to talk about Art and Music in a simple and direct way without borders because, in the end, this is what Art and Music should be.

BY EMMA CHIARAMONTE - AVA GALLERY

PROFILE PIC BY EMMA CHIARAMONTE

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A R & T

N A T U R E ART4YOU MAGAZINE | 113

ART & NATURE

ZAHIDAH ZEYTOUN MILLIE ARTIST | FOUNDER & CURATOR ‘MANGROVES FROM THE WATER’ EXHIBITIONS, AUSTRALIA Photo : Art installation - 3D Mangrove Tree

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THE STORY OF

THE MANGROVES FROM THE WATER PROJECT PIC 1 - PHOTO COURTESY - @ ZAAHIDAHART.COM

By Zahidah Zeytoun Millie Photographs by Zahidah I’m from the Mediterranean coast of Syria, currently a stable part of a country suffering from war since 2011 that has resulted in the fleeing of refugees around the world. I am fortunate that my family is still living safely in Syria.The war in Syria encouraged me to think deeply about the meaning of life and death and that developed an art piece inspired by the Epic of Gilgamesh.

PIC 2 - 3D MANGROVES FROM THE WATER 2

An early work The White Jasmin Has Turned Red, and Zahidah 5, produced in 2012, explain my thoughts and fear while living in the United Arab Emirates(UAE) outside of Syria.In our age of global warming the nation of Syria is hardly contributing to ways of reducing human damage to the environment. Rather, my country is actually causing more damage to the Earth through the destruction of war and the massive movement of my fellow country people around the world. I have a message to tell our leaders and I want to help my people, but I am without a voice. I can't stop the war in Syria, but I can run a campaign to protect the mangroves and in doing so the Earth. I actually started painting mangroves in the UAE from a kayak around the time the war in Syria started, and I presented the first exhibition ‘RAK from the Mangroves’ in Ras al Khaimah in 2013. My art practice is mystical, ecological and political. I explore the subject of mangroves as a means to generate awareness around the destruction of my homeland and environmental concerns. (1)

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PIC 3 - MANGROVES FROM THE WATER – FROM A KAYAK

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ART & NATURE I started kayaking and painting among mangroves to soothe my constant concern for my unsettled country Syria(2).The first exhibition at the National Museum of Ras Al Khamaih was about the beauty of the mangroves of the northern coastal city of the UAE. The exhibition was a success and I was able to send the proceeds to help families in Syria.

Between 2012 and 2017 I lived by the mangroves in the UAE, a forest whose misuse and destruction I paralleled to the violence and war created by man in Syria(3).

As an artist I see the importance and the beauty of the mangroves. I feel connected to nature, with a sense of responsibility to protect them by producing art works and curating art exhibitions highlighting their beauty and importance(4). I think we made an impact about the mangroves in the Emirates though our art exhibitions and the festival.

I believe the mangroves story incomplete with only using my story and art. So, gathering a team of collaborating artists from different backgrounds and varying media has the potential to surround the viewer with a festival of multimedia art depicting the story of the mangroves and wetlands.

My aim is to confront the viewer and to touch their emotions to feel deeply about the strong connection between Nature and Humanity. In 2016 New Zealand granted a river the same legal rights as a human being(5).

I’m very much aware that mangrove forests contain some of the highest carbon eating stocks of any forest type(6). Mangroves are important; the trees and the associated sea grasses are very effective in reducing carbon from the air and providing us oxygen in our age of global warming. Mangrove forests contain some of the highest carbon eating stocks of any forest type(7). Experiences in discovering mangroves lead to my founding the Mangroves from the Water’ touring exhibition (2015-2016)and the 2017 Mangroves Festival.

Aiming to raise awareness of the importance of native trees, a four day art and culture festival occurred next to the mangroves of Umm Al Quwain between 8 and 11 March 2017(8).

MANGROVES FROM THE WATER – FROM A KAYAK

DANIEL AND ZAAHIDAH ZEYTOUN MILLIE

THE WHITE JASMINE HAS TURNED RED, 3D MIXED MEDIA, ACRYLIC, WIRE, WOOD, PLASTER AND LIGHTWEIGHT SPACKLING 60x40x30CM, 2012 (sold) PHOTO SOURCE - ZAAHIDAHART ART4YOU MAGAZINE | 46 ART4YOU MAGAZINE | 116

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LEFT: THE SYMPHONY OF LIFE & DEATH, 159X108CM, ACRYLIC, STONES, SHELLS, FOND, OIL, 2012 (SOLD) TOP RIGHT : CAMEL FARMERS CUTTING MANGROVES IN UMM AL QUWAIN :MORNING AND AFTERNOON DOWN RIGHT : KHARAREEF HERITAGE STORYTELLERS WITH THEIR SUPERVISOR BRIONE LATHROP.

Mangroves from the Water The first artists who supported my passion were my friend the French artist Geraldine Chansard who produced a sculpture from fishing wire nests ‘Woman from the Mangrove’ and the South African artist Stephaine Neville who created the community knitting project, ‘We’ll Keep you Safe’. When I contacted New York University Abu Dhabi seeking scientists I found Alexis Gambis who immediately joined and contributed voluntarily to ‘Mangroves from the Water’. Alexis is the founder of the Imagine Science Film Festival and produced ‘the Guardian of the Mangroves’, a movie based on Emirati storytelling. I also collaborated with the Zayed University through the Kharareef Heritage Storytellers, a group of female students and supervisor Brione LaThrop. The group produced tales of the mangroves presenting their work in a traditional Emirati majlis setting. We toured the country with the exhibition commencing at the New York University of Abu Dhabi. We then moved to the location of our sponsor, the Environment Agency Abu Dhabi, then to the Fine Art Society Gallery in Sharjah, the Umm Al Quwain National Museum and ending the tour at the jamjar Gallery in Dubai during the 2016 Dubai Art Fair.

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TOP : WE’LL KEEP YOU SAFE (2016).

The 2017 Mangroves Festival was a massive community collaboration connecting volunteers, schools, colleges, museums, environment organisations, groups, artists, scientists, families and musicians, all united to preserve the environment. In mid 2017 I moved to Australia with my Australian husband Daniel and son Xavier, but before leaving I left two art works to two important orgnisations with an aim to help preserve, protect and maintain awareness of the beauty and importance of the mangroves.

During the Mangroves from the Water Touring Exhibition and the 2017 Festival I undertook voluntary workshops involving kayaking and water colour sketching of the mangroves and surrounding area.

This way of painting involving physical activity has helped me in hard times and I’m sure it would help everyone.I argue that everyone can be a painter when immersed in nature with paper and colours.

COMMUNITY PROJECT KNITTED/CROCHETED WOOL BLANKET

BY ARTIST STEPHANIE NEVILLE DOWN LEFT:THE SELF 2017, BY ZAAHIDAH MILLIE, ACRYLIC, COLOUR, RESIN, CHOPPED TREE.

Since moving to Geelong, the second biggest city in the state of Victoria, in mid 2017 I have resumed kayaking and painting mangroves. The philosopher Hanna Segal admits that a lost world can be recreated in our art. I have found mangroves are not known or admired in the arts. Searching for traditional story telling on mangroves to understand the human connection in the Barwon River region of Victoria has been difficult due to cultural sensitivity to the devolution of those stories. This situation has encouraged me to embark on higher degree studies to investigate the extent to which Australia has contributed to the destruction of habitats, specifically regarding native trees, fauna and and the traditional lands of indigenous people. I hope an outcome of my research will be to placemangroves as an appreciated landscape regarded for their wealth of ecological and cultural significance.

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‘Mangroves from the Water’ is to restart in Australia in the state of Victoria, Australia and our exhibition has had to be postponed till next year, at the same time on International Mangroves Day, 26 July 2021. This time we are thirteen Australians including one indigenous artist and three international artists: writers, a dancer, scientists, a musician and a film maker. The artists names are Alexis Gambis, Geraldine Chansard, Stephanie Neville, Nicola Cerini, Enrico Santucci, Deb Taylor, Richard Collopy, Jacqui Dreessens, Peter and Helen Martin and Zahidah Zeytoun Millie. The aims of the new ‘Mangroves from the Water’ project are to: 1. encourage the viewers to realise the beauty and importance of the mangroves through our multimedia art exhibition and exhibition workshops and events, 2. protect wetlands and mangroves which have a strong tie to indigenous people and their great capacity to mitigate climate change, and 3. encourage discussion and guest speakers about the mangroves, sea grass and wetlands from different universities, to be held at Deakin during our exhibition time. I wish all a happy day on this year’s International Mangroves Day, 26 July 2020.

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ART & NATURE

THE VIRTUAL ENVIRONMENT ART EXHIBITION BY ART4YOU GALLERY AND DUBAI MUNICIPALITY WAS IMPRESSED BY ALL!!!

By Art4you Editorial

The Virtual Environment Show ‘MOTHER NATURE’ was organized under the aegis of Dubai. The exhibition shed light on the environmental efforts that have taken place since the beginning of the Corona virus crisis. This has helped to improve the ecosystem functioning of municipalities and environmental organizations around the world focusing on biodiversity. This will help UAE residents, along with the rest of the world, to view paintings by 40 international artists at the Virtual Environment Exhibition in collaboration with Art4you Gallery.

The Municipality in partnership with Art4you Gallery called on the public to understand the importance of continuing to communicate with nature, as this experience takes them on a virtual tour of 65 paintings that express the local and global nature and embody pictures of wildlife and plants. This virtual tour, which is available to members of the society of all ages, will contribute to seeing all artworks clearly and accurately, as entry to the exhibition page is available throughout the day.

PAINTING 1 TOP: JOURNEY IN THE GREEN LIGHT / 100X 100CM BY HILDE GUSTAVA ATELIER GUSTAVA DOWN : VIRTUAL GALLERY VIEW BY ART4YOU GALLERY

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DOWN: PAINTING BY EMIRATI ARTIST - ROA AL MADANI TOP: VIRTUAL GALLERY VIEW BY ART4YOU GALLERY

The Municipality in partnership with Art4you Gallery called on the public to understand the importance of continuing to communicate with nature, as this experience takes them on a virtual tour of 65 paintings that express the local and global nature and embody pictures of wildlife and plants. This virtual tour, which is available to members of the society of all ages, will contribute to seeing all artworks clearly and accurately, as entry to the exhibition page is available throughout the day.

The Dubai Municipality Exhibition was organized as a continuation of the world celebrated environmental on the theme Biodiversity, on World Environment Day celebrated on June 5 th every year. The Virtual Tour was aimed at raising awareness forthe protection of the environment and biodiversity in communities around the world, spreading positive environmental behavior in the society.

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ART & NATURE The Virtual gallery was designed and curated by Jesno Jackson, Founder of Art4you Gallery with creative support of Jenson Renji.

Virtual Tour was basked in the haunting beautiful music created by Colombian Music Composer -Max Ruiz, just for this occasion of this Mother Nature Show.

The Exhibition was virtually inaugurated by Ms.Tasnim Al Falasi – The Manager of the Environmental Dept, DM in the presence of other VIP Guests: Ms. Sultana Kazim,Ahmed Al Awadhi, Alessandra Giorda, Peter Gressman, Peter Farrington, Eleni Paipai- Greek Marine Projects Expert DM, Saju Nair, Isha Farha Quraishy, Anjini P Laitu, and Mariska – Environmentalist.

Participating artists are; Anjali Babu, Aleksandra Ogórkiewicz, Chitra Sudhakaran, Felsa Marie T. Hortiza - Barut, Gwyneth Rasquinha, Nada Al Barazi, Pari Sagar, Peter Farrington, Mauricio Mayorga Zamora, Mankush Sethi Srivastava, Megha Manjarekar , Nadeem Yaqoob, Hafsa Rasool, Jesno Rengi, Kavita Sriram, Roa Al Madani, Rachel John, Renu Shivam, Soumaya Askri, Anupam Sharma, Corry MacDonald, Shaji Kundathil, Soni Budhia, Supriya Singh Baghel, Swatee Jawale, Rishu Gosain Roy, Belen Quirogo, Varsha Saju Nair, Sunita Vasanth, Shobha Iyer, Parul Sosa, Rashmi Dauria, Ranjisha Raghavan, Varsha Sureka, Yoshita Ahmed, Veena Devagiri, Victoria Valuk, Yasmin Naeem, Mohamed Wadood, Hilde Gustava, and Indra Kronberga.

The exhibition opening was followed by a Live Panel Discussion in Zoom in the ‘Theme- Mother Nature – Environment Day’. As a part of the exhibition, environment dept DM, organized a Talk on the theme – Nature and protected areas in UAE, under the slogan “TIME FOR NATURE” in Zoom on June 11 th where in 38 participants were involved.

Focusing on pressing environmental issues, on June 10 th , Art4you Gallery hosted a discussion on Colombia Day. The aim of Colombia Day was for the people of UAE join hands with the people of Colombia to explore, celebrate and understand the richness, splendor, spirit and wonder that the beautiful diversity of life of the Heart of the World brings to all of us, in connection with ART. ARTWORK BY @GWYNETH RASQUINHA JESNO JACKSON, ANJALI BABU, YASMIN NAEEM

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ART & NATURE The session was immersed with the stunning artworks in the presentation. Special Guest Speakers were Tasnim Al Falasi from DM, Dena, Peter Farrington, William Muenzer – Liasing Consultant CHIPIRI Foundation Germany, Mauricio Mayorga Zamora- Colombian Artist, Asdrubal Torres – Mamo from Seira Nevada, Ahmed Rukni – Emirati Artist an Businessman, Ana Maria Vasquez - Colombia, Hilde – Norway, Jaya Phulwani – Indian Artist, Dr. Hafsa Banu from Oman, Dr. Junaid Shah – Cofounder of Ajaz Environmental Consultancy UAE, Aisha Mir -Saudi, Tomoo Shoji- Japanese Biologist, Royston Braganza CEO of Grameen Capital India, had a journey experience from UAE to Colombia.

Dubai Municipality specializes in promoting and developing activities to protect various ecological areas such as air, water and soil from pollution and erosion. This is a continuation of the municipality successful implementation of environmental initiatives and strategic initiatives to ensure the quality of the air and ensure the happiness of the residents, residents, and visitors of Dubai.

Enter the show by clicking the below link; https://www.artsteps.com/view/5ed4d4675b29ab06484915ef Walk from room to nature to experience the Virtual Tour. You can also see the exhibition in Art4you Gallery page in FB. The Exhibition is still open virtually till October, 2020.

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WILLIAM RICHARD MUENZER (ENVIRONMENTAL ACTIVIST & WRITER) ART4YOU MAGAZINE | 124

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As Colombia was designated by UN as the host country for the World Environment Day Celebration, on June 5, 2020, "art4you gallery" selected the artist and environmental activist Mauricio Mayorga, representing Colombia to exhibit at MOTHER NATURE, having learned of his work and management worldwide regarding the garbage pandemic and the toxic plastic islands, which fits under the umbrella of our exhibition.

As a conceptual artist Mauricio focuses his work on the sea, the garbage that contaminates it and his relationship with peace, with different artistic techniques which lead the observer to evaluate his footprint on the planet,making him participate in the collective interventions of which he is a benchmark, as well as the performer.

(Relational art) PIC COURTESY @TREE OF THE WISHES / SCULPTURES WITH REMODELING WASTE MATERIAL (WOOD, CABLE AND WIRE), OVERPRINTED ROLLING PAPER & STRINGS ON DISPOSED MATERIALS.

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His work has previously been exhibited on more than 200 stages in 30 countries, mostly at official events in Celebration of World Earth Day EDN, World Water Day WWD and World Ocean Day DMO. He has had the endorsement of the Colombian diplomatic corps in the exhibitions of Puerto Rico, the Dominican Republic, Trinidad, Venezuela, the United States, Peru, Bolivia, Panama, Italy, and France.

As a spokesperson for children from different countries, he leads the initiative that if recycling is taught from the moment all children on the planet enter school, the main cause of this toxic pandemic is attacked at its roots and in about 10 years the problem would be minimized, which is why he was invited to make a presentation in 2011 at a world event in the UN central building in NYC. In 2017, he was appointed Allied Spokesperson of the United Nations Information Center in Bogotá and thus obtained the endorsement of UNESCO, having been appointed by the Colombian Ocean Commission (head of the Vice Presidency of the Republic of Colombia) to lead International level activities in celebration of the DMO. Some 200 events were visited by about 120,000 people.

Presently he has put forward this initiative to be adopted by Rotary clubs around the world. This is a widely spread, immediate, and low-cost action that as he estimates it would change the history of human history.

RIGHT - PIC COURTESY @MAURICIO / TITLE - SANTUARIO ACRYLIC ON CANVAS

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ART & NATURE Today, strengthening ties with us, he has extended an invitiation to participate in the Virtual Cambass Museum exhibition, ideologue and manager of this initiative, opening doors of alliances with groups of artists, environmentalists and pacifists from Colombia, Brazil, Argentina, Mexico and the United States, with whom Mauricio has been working: Arte sin fronteras por la paz y Bogocine en Colombia; Brazil periodista Antonio Márquez, Argentina Premio nevado Solidario, México Organización Mundial de artistas integrados y Centro Cultural Bauprés, Estados Unidos La locura del Plástico. Mauricio has put forward some very interesting proposal which agree with our philosophy currently being evaluated in order to define our future work together.

RIGHT - PIC COURTESY @MAURICIO / TITLE - PROFUNDO MAR ACRYLIC CON CANVAS

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EVENTS/EXHIBITIONS

"LE CUBISME" CUBISM-VIRTUAL ART EXHIBITION BY ART4YOU GALLERY

BY ART4YOU GALLERY "Cubism" was a highly influential visual arts variety of the 20th century that was created principally by the painters Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the image plane, rejecting the normal techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art because the imitation of nature. Cubist painters weren't sure to copying form, texture, colour, and space; instead, they presented a brand new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. It’s been 100 years since the appearance of Cubism, and that we seem to be undergoing the same quite transitional moment in history, with the increase of digital technology and therefore the fragmentation of old orders.

In a world where social distancing is still very much the name of the game,the Cubism Virtual Art Exhibition Project organised by Art4you Gallery, Curated by Jesno Jackson. Addressing this era using the tools by Braque and Picasso, particularly collage, explore the depths of those themed artworks by 32 artists and 71 artworks.

Exhibition opened on 18th July and is ongoing and available to look at through the Art Steps website. This was a popular exhibition with a strong concept from history of art and movement that focused on the celebration of CUBISTS. "We know that the whole art world has been struggling everyday as more events got cancelled, art studios were closed, and people were experiencing existential crisis. This period will come to an end, but until then we need to keep the ball rolling, exchange ideas, brainstorm, and motivate each other. We Founders have been humbled by the creations we have seen across all the feeds of our events, TO MAKE, TO SHARE and TO OPEN-UP the art community by making sounds, writing, responses and creative magics.At times like this, ART becomes ever more meaningful", says Rengi Cherian - Founder of Art4you Gallery. The digital designing of event's promotional flyers was done incorporating the images of each artwork, and with appropriate layout that reflects the strong composition providing the 3D view was indeed a challenging task that was executed beautifully by Jenson Rengi who is the creative designer of 'Le Cubisme'.

IMAGE COURTESY: @EXHIBITION OPENING ZOOM IMAGE TOP: MR. ABDULQADER ALRAIS DOWN: MR. YASSER AL GERGAWI

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EVENTS/EXHIBITIONS ARTISTS ARE ASKED TO EXPLORE THE CUBIST ART STYLE AND CREATE AN ORIGINAL WORK/S OF THEIR OWN INCORPORATING AS MANY KEY IDEAS OF THE MOVEMENT AS POSSIBLE.

'Le Cubisme' an art exhibition, which is a collection of splendid artworks following the pattern of Cubism, was inaugurated by Prof. Abdul Qader Al Rais - multi award winning Emirati artist noted for his phenomenal abstract art which combines geometric shapes with Arabic calligraphy.Second session of 'Le Cubisme' was hosted by the gallery on 19th July wherein Mr. Yasser AlGargawi, Director of Programs and Partnerships, Ministry of Tolerance, Chairman of Dubai National Theater inaugurated the session.All participating artists got the opportunity to introduce their artworks in front of the large online gathering. It was indeed fascinating to experience the interpretations of their works, and the thought processes of the artists during the making of their creation.

Pls chk the below link to explore the artwork in a designed virtual gallery space; https://www.artsteps.com/view/5eecfbabf6ab785b3a5c4443

"CUBISM IS NOT A REALITY YOU CAN TAKE IN YOUR HAND. IT'S MORE LIKE A PERFUME, IN FRONT OF YOU, BEHIND YOU, TO THE SIDES, THE SCENT IS EVERYWHERE BUT YOU DON'T QUITE KNOW WHERE IT COMES FROM."

- PABLO PICASSO

EXHIBITION OPENING ARTWORKS EXHIBITED; LEFT: VIRTUAL 360 DEGREE GALLERY RIGHT PIC 1: ARTBY SHEHZADA FARHAN AKBAR / PIC 2: ART BY JULIUS CESAR PIC 3: ART BY VINU ARVIND / PIC 4: INSIDE THE VIRTUAL GALLERY IMAGE COURTESY @ART4YOU GALLERY & ARTISTS

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A R T I S T

&

P O R T F O L I O

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PORTFOLIO

MY JOURNEY THROUGH ART

BY PETER GRESSMAN

Actually this journey started already in the tender childhood of maybe 2 years! My mother told me that I could be patient with my father's art books for hours - when she gave me a children's picture book I started to cry, I wanted the thick books of mine Father in whom I discovered many colorful pictures and these books have accompanied me to this day. When I came to school I could already read but not paint. My art teacher, who was also my godmother, soon confirmed that I was absolutely talent-free when it came to painting. But what struck her was that I already had a certain amount of basic knowledge in the theoretical field of art. I think I was 8 years old when my godmother took me to a museum for the first time, it was the art gallery in my hometown Hamburg. She is astonished to see that I look at the paintings with fervor and that I was able to assign almost all painters and styles. From her also comes the statement, "Peter God gave you two left hands but he gave you the gift to understand art!

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PORTFOLIO I was 47 years old when my father, who had developed over the course of his life as a passionate antique collector and owned a large property in Tuscany, fell ill! In the next two years, I spent a lot of time with my father in Italy to restore the villa on its grounds. When my father died much too early in 2001, I had the task within the family of his belongings and also of selling the villa and property. This job kept me in Italy for 3 years. The proximity of my father's property to Florence gave me the opportunity to be a permanent guest in the Uffizi Gallery. The Uffizi is considered the treasure trove of the Medicis and is home to countless works of art with priceless value.

From about 1965 when I was 10 years old, my parents started to travel abroad with me and my seven siblings once a year, and my desire to travel was aroused.

However, unlike my siblings, I found it boring to spend the days on the beach with swimming and playing. I wanted to see the sights and museums of the respective holiday resort. Thank God my parents understood my passion and could bring me to a museum in the morning where I spend hours and hours until my parents pick me up again in the afternoon. When I finished school at the age of 17, I was faced with the choice of career, long ago certain 2 passions my life: the art and the travel as I said, I never wanted to be an artist, so I decided to study in the dual system touristic with the aim of traveling and on this occasion to visit museums around the world. And I've been doing that for the next 35 years of my life.

Peter Gressman Artforumuae Founder Art Consultant Art Critic Art Writer Art Curator

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PORTFOLIO

After the death of my father, I decided to turn my passion of art into a profession and joined an art dealer who was unable to travel due to his health. My path then led me to America where I managed to convey some works of art of great value to collectors. In 2006 I met a companion who discovered and acquired an unknown art collection. With over 100 works of art by three wellknown artists, this art collection is also of great value. the next 2 years were dominated by research work and I became an expert on cubism. Our decision to hold this collection together and to transfer it to a museum led me to the UAE at the end of 2008 because I had read that a museum island was to be built here in front of Abu Dhabi. For me, the UAE is still the best location for a collection like this. During this trip I naturally also visited existing museums in the UAE and so I got to know some local artists. In my conversations with them I learned how difficult it is for local artists to become known beyond the borders and the birth of artforumuae had come. First I led artforumuae from a distance, but for the next 4 years, I traveled the Middle East for 3 to 4 months each year until I decided to move my center of life to the UAE in 2012 due to the large influx of artists at artforumuae. In the meantime, the construction of the Museum Island had begun and artforumuae became an institution. I have found my place in art and my goal is to transform artforumuae into a foundation one day.

PIC COURTECY: @ARTFORUMUAE - PETER GRESSMAN FB / FROM THE CURATED EXHIBITION BY PETER GRESSMAN @PULLMAN DCC DUBAI,UAE

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ARTIST TO INSPIRE

BIG, BOLD & BEAUTIFUL: COLOURFUL WORLD OF ANJINI PRAKASH LAITU

BY JESNO JACKSON

From abstract interpretations of cities that left a mark on him, Anjini Prakash Laitu has a penchant for sharing delightful stories, whether on canvas or on any other surfaces. With his warm personality and passion for art, Anjini Laitu has, over the years, become an eminent figure in the UAE art scene, and his modernist abstraction artworks have made their way into many exhibits, including solo , local and international shows at many prestigious art galleries, and art fairs.

"Smile comes with Colors."That has been his moto since the time he started painting. His paintings, which he call ‘Colors’, are generated from the vibrations of Positive Energy, which he wish to pass on to masses through his canvases.

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Interview with Anjini Prakash Laitu Q1. Can u tell us a bit about vision from your abstractions?

A1. From my childhood, I was fond of going to galleries and watching large colorful paintings. I developed liking for M.F. Hussain to whom I had been meeting in, Delhi – Coffee House or Dhomi Mid Art Gallery. This was the period when I bought some of his paintings on portraits, enlarged them using square technique and painted them on canvas, the copying and recreation continued for some time when I joined Sharjah Art Institute. I realized that copying any painter’s art is not giving me the satisfaction I needed. I developed the same feeling for copying from photographs, nature, landscapes, human figure etc.…I wanted to create something which is new and can call it my creation. Creation, which is made by me, which no one can call copy. Accordingly, I started experimenting with colors, forms and compositions with still, speed, motion etc.… Here I realized that this is what I wanted to satisfy my inner soul. After that in never looked back.

Q2. Your paintings are mostly abstract, but where did this imaginary come from?

A2. I do not start my paintings with any theme or direction. I love colors and begin putting them on the canvas. These colors on canvas create some type of relationship with me and they guide me to develop further. My brush, knife, fork, squeezy etc. make the canvas more dramatic.

Q3. How would you describe your style of artwork?

A3. My style is abstract, which is not directed by some guidelines and theories.

PIC COURTESY @ANJINI LAITU AND HIS ARTWORKS/ ARTIST AT HIS STUDIO

ARTIST TO INSPIRE Q4. Your pieces are incredibly hands-on. What is your process when making a painting? Do you have a structured plan for compositions, or do you work instinct?

A4. Sometimes I prefer playing with start lines or shapes like rectangles or cubes which are in flow, segment or show speed. As I say, when I paint, all is not in my control. Some divine power guides me and I feel myself only as an instrument.

Q5. Your work has been described as “Colors” and they are incredibly complex and energetic. Would you describe them as emotional? And if so, do they reflect your own emotions?

A5. I do not think my paintings have any other emotion other than JOY and Happiness, that is why I call them “COLORS’ of joy. My paintings must create relationship with you, give you positive energy, bring joy to you and if it does not, I have not done my job properly. Purpose of my colors poured on canvas is to bring happiness, happiness, and happiness only, nothing else.

Q6. Why is painting the best medium for you to explore your idea and concepts?

A6. From my childhood during late forties and early fifties, I was given impression that dance, drama, music, paintings etc. were not a welcome proposition in decent educated families.Painters were often translated as signboard painters. As we developed as an independent civilized nation things changed. My earlier urge to become a painter materialized after my retirement in 2001 – 2002 when I decided to join art institute for a 3-year course in Sharjah. After that course, I got encouragement from Ministry of Culture, Sharjah when I did my two one man shows in their cultural club. There were widely covered in then cultural management and Sharjah TV. Q7. What does it feel like to exhibit your work in several gallery settings and have people interpret it?

A7.I do not name my paintings. They all are known as colors. I feel, in abstract theme is a pleasure of seeing the paintings acc to your personality and translate it. I do not think it is wise to force your audience to enjoy the work as per the painters wish They must be free to enjoy the pleasure of colors the way they like.

IMAGE COURTESY @ANJINI PRAKASH LAITU ART4YOU MAGAZINE | 136

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“I love bright colours, I believe they carry a lot positive energy and bring good luck,” says Laitu

"It’s moments of COLOURS like these that the artist lives for; moments when his art becomes a source of joy.

Anjini Laitu - Continuing the Legacy ."

- says Jesno Jackson

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INTRODUCTION TO NADA AL BARAZI

Art that Inspires Connecting to Nature NADA

DISCUSSES

POSITIVE

EMOTIONS,

NATURE

IN

THE

SERENITY, SERENITY IN THE NATURE AND GETTING HER VISIONS OUT ON THE CANVAS. NADA’S WORK IS “ART INSPIRED BY NATURE”. NATURE IS THE GREATEST INSPIRATION TO SEE BEAUTY IN THE WORLD, AND DRAW ATTENTION TO SOME OF THE MOST PRESSING MATTERS IN HUMAN AND ENVIRONMENTAL AFFAIRS. WITH ART AS LENS, WE CAN LEARN TO CHANGE THE WORLD .WE CAN SEE SO MUCH ART IN NATURE IF WE TAKE THE TIME TO LOOK. THE EARTH HAS PROVIDED US WITH SO MUCH BEAUTY.THE

COLORS

THAT

SURROUND

US,

THE

PLANTS,

FLOWERS, BODIES OF WATER, CREATURES. EVERYTHING WE SEE IS CONNECTED TO ART ,IF YOU CAN APPRECIATE IT. THIS IS TRULY

IMAGE CREDIT -@ ARTIST NADA AL BARAZI

A LOOK INTO OUR EVERYDAY LIVES AND LOVE FOR NATURE.

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BY ART4YOU EDITORIAL Nada Al Barazi discusses positive emotions, nature in the serenity, serenity in the nature and getting her visions out on the canvas. Nada’s work is “Art inspired by nature”. Nature is the greatest inspiration to see beauty in the world, and draw attention to some of the most pressing matters in human and environmental affairs. With art as lens, we can learn to change the world. We can see so much art in nature if we take the time to look. The Earth has provided us with so much beauty. The colors that surround us, the plants, flowers, bodies of water, creatures. Everything we see is art if you can appreciate it. This is truly a look into our everyday lives and love for nature.

Q1. Where are you from? Where do you live now?

A1. I am originally Syrian. I live in Dubai.

Q2. How did you become interested in art? When was that?

What was your route to becoming an artist?

A2. I have been enchanted by art since childhood but I effectively started to focus on art since 2017.

Q3. What is your chosen medium and what techniques do you employ to get the results you want?

A3. I indulge in producing something new every time I uses the brush. Inspired by the art of creating in itself, I uses oil and acrylic paint focusing mainly on nature elements which reflects my interest of sharing creations with others in it’s most organic form, and show my creativity.

"WITH ART AS LENS, WE CAN LEARN TO CHANGE THE WORLD. WE CAN SEE SO MUCH ART IN NATURE IF WE TAKE THE TIME TO LOOK. THE EARTH HAS PROVIDED US WITH SO MUCH BEAUTY." , SAYS NADA AL BARAZI

PHOTO COURTESY @PAINTINGS BY NADA AL BARAZI

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ARTIST TO INSPIRE Q4. What is the most important tool you use?

A4. I use many tools such as brushes, palettes, easels, acrylics, oils, canvas, sketchbooks, erasers and pencils.

But the most important tool I use in my artwork is the palette knife specially when I want to create some 3D flowers or other nature elements.

Q5. What pleases u about the process? What environment you like to work in?

A5. There are no rules when I start painting.

Sometimes I know what I’m going to do. Sometimes, I don’t know what I’m going to do. I paint most of the time without pictures. I do most of my artworks from memory. I feel so excited when I start putting my acrylics or oils on canvas and start painting. I work most of the time in my private studio at home because most of the time the weather doesn’t help to go and paint outdoor where I love to be in parks and gardens.

Q6. What is the most challenging about the process in making?

A6. The most challenging about the process in making to be able to create and to share my creation with others, and make it a creative process. I put my heart into my art and work, I seek inspiration from nature, and I consider the creative process an outlook to free my thoughts. I always look inside myself. What do I see, feel? Do I see my feelings in colors, shapes or just bursts of passion? Yes, I visualize my soul’s passages and my outlooks in life and illustrate them to the best of my ability. I make my strokes symbolize emotion.

Q7. How do you approach your work? How do you decide what to paint?

A7. I take my time too look around and see what catches my eyes. What excites my vision, what touches my heart in some way, what speaks to my soul. Move around to see my potential subject from different angles and perspectives. It can take time before I find my subject. Do I want to paint a garden? A landscape?

A bowl of fruit? An interior? Or a vase of flowers? No matter what it is that I want to paint, decide on what it is about it that is drawing me to it. Is it the colors? Is it the way the light falls on it? Are there interesting textures? Consciously I ask myself questions like these and answering them will help as I make artistic decisions during the painting process and will help make my final painting more powerful.

PHOTO COURTESY @PAINTINGS BY NADA AL BARAZI EXHIBITED AT CREATION IN ISOLATION VIRTUAL SHOW

Q8. What initially captured your imagination about connecting to nature?

A8. The beauty of nature captured my imagination connecting to it. What is the first thing that comes to mind when I think about the beauty of nature? Greenery, Right? But the beauty of nature is more than greenery. Everything I feel and see around, including Mountains, Forests, rivers,birds,plants,animals,air,etc... All are part of the beauty of nature.

Nature is the lifeblood of all living creatures in the world.

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Q9. What subject you painted the most? How would you describe your aesthetic? eg. tone, impression, abstract, etc A9. I painted paintings related to landscapes. Many of my paintings are of flowers and trees. My artworks possess in virtue of its capacity to elicit pleasure and positive energy when appreciated or experienced aesthetically.

Q10. Tell us about a piece of work, you have fond memories of and why?

A10. I can’t remember. (Nada smiles)

"NATURE IS THE LIFEBLOOD OF ALL LIVING CREATURES IN THE WORLD." OPEN CALLS & OPPORTUNITIES

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OPEN CALLS & OPPORTUNITIES

Opening : Oct 15th 2020

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YOUNG ARTIST

EMERGING YOUNG ARTIST

HORSE ARTIST

JENSON RENJI ART4YOU MAGAZINE | 143

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PAINTING - TRIBUTE HORSE BY JENSON RENGI CHERIAN

YOUNG ARTIST

BY JENSON RENJI CHERIAN Like every artist, I’ve had my bumps in the road. But if you ask me, I’ll always tell you that I wouldn’t change a thing. Why? Because throughout my journey I’ve honed my skills and proven that my art will get results in the real world. So today, you can benefit from my years of experience. https://jenson-renji.jimdosite.com/ ART4YOU MAGAZINE | 144

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YOUNG ARTIST

“THEY ALL TOLD ME I'D GROW OUT OF IT, BUT FOR ME, HORSES ARE AN ENDURING INSPIRATION.” -JENSON RENJI

WANT TO KNOW MORE ABOUT ME? I am Jenson Renji Cherian, 16 yrs old, from India living in UAE. I was a typical energetic toddler. I loved playing in the mud, investigating, finding, and generally exploring the outdoors. My parents have always been proud of me, as despite being quiet and reserved at school, I have always been studious, achieving good grades and great comments in all my subjects. Living in a flat with no outside space meant that my love and passion for the big outdoors were satisfied with quad bike rides, long drives, traveling and photography, trekking, hobbies like playing drums and guitar.

My first travelogue alone was to a summer camp in Switzerland when I was in Grade 5. From there, I got the inspiration and motivation to take art seriously. “My father gave me my first camera at the age of 5. He introduced me to teaching the focus subjects in capturing images. Also, I had developed my computer skills from the early age of 2 years, and was deeply passionate and focused on spending my sweet time with my favorite companion – “My laptop”.

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YOUNG ARTIST

JENSON PARTICIPATION @LE MIRACLE ART EXHIBITION THE WORKSHOP, DUBAI UAE

I have also completed my course in Microsoft Professional Certification in Graphic Designing when I was in Grade 7 and presently supporting my parents in Art4you Gallery.

I started my education in The Elite English School Dubai and switched over to Gems Westminster School Sharjah, because my parents who I am thankful for, felt that I should study as well as pursue my interest in art. A natural-born artist and an animal lover since childhood, I had been told that from the age of 4, I used to do coloring, I also recall that in kindergarten through Grade 6, I used to participate in many art competitions and won prizes.

TOP: AWARD RECEIVING FROM DR. NAJAT MAKKI DOWN: EXPLAINING HIS ART TO VIP GUESTS

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YOUNG ARTIST Even though I was immersed myself in sketches and pencil shading, my Mom has encouraged me to experiment with paint on canvas, the beginnings of my love of color, and textured brushstrokes. My mum says that from day one, I showed an instinctive ability to mix color. She has given me a lot of advice about painting and the creative process.

Having identified my interest in art in late 2015 for horse art, my mother facilitates me with the best platforms to nurture and sharpen my skills and to present my creations in front of a larger art community. It was one of the major turning points of my artistic career as I happened to find various artists and their works that continue to inspire me.

I have a lifelong passionate love affair with horses. I try to identify to build on my Equine art and have made themselves unique. My goal is to also discover and bring out my own style with texture and different techniques, and also combine with my various interests as an Equine Painter. As an artist, I work hard to integrate classical techniques, capture impressions, render pure pigments in my equine subjects. I was fortunate to display my artworks at various exhibitions local and international. My participation in more than 5 Student Art Exhibitions and 2 Artists Exhibitions has built my confidence in the global platform. One of my most memorable moments where I felt most appreciated was when I was offered to sell my first painting to my family and friends, also at World Art Dubai 2018. I am happy to be selected as the youngest participant in Cambass Museo - Art NewYork USA 2020, where my Horse painting “Wisdom” was exhibited.

PIC 1-BLOOM ART EXHIBITION @SOFITEL THE PALM, DUBAI PIC 2-STUDENT ART EXHIBITION @CARTOON ART GALLERY PIC 3-AWARD RECEIVING FROM MR. KHALIL ABDUL WAHID PIC 4- WITH THE VIP GUESTS @ LE MIRACLE, DUBAI, UAE ART4YOU MAGAZINE | 147

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YOUNG ARTIST

My sincere thank you to all who have supported me throughout my art journey!

IMAGE COURTESY @JESNO JACKSON - AWARD RECEIVING FROM HIS EXCELLENCY SHEIKH SUHAIL MOHAMMAD AL ZAROONI @H.E PALACE, DUBAI, UAE -BEYOND BORDERS ART EXHIBITION PARTICIPATION

IMAGE COURTESY @STUDENT ART EXHIBITION -EXPLAINING ARTWORK

RECEIVING CERTIFICATE FROM MR. ALI AL AMERI

TO MR. ABDULLAH AL MUBARAK, VIP GUEST @CARTOON ART GALLERY

AT BEYOND BORDERS ART EXHIBITION, DUBAI,UAE ART4YOU MAGAZINE | 148

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YOUNG ARTIST

Continuing my journey in art.

I need all your blessings and support.

- Jenson Renji Cherian Artist / Creative Designer

IMAGE COURTESY @ART4YOU GALLERY / TOP: WITH VIP GUEST - DR. HAMED AL SUWAIDI, FOUNDER OF ABUDHABI ARTS SOCIETY AT AGORA ART EXHIBITION DOWN: JENSON WITH HIS PARENTS @ EMERGENCE STUDENT ART EXHIBITION, CARTOON ART GALLERY,UAE ART4YOU MAGAZINE | 149

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YOUNG ARTIST

JENSON'S PHOTOGRAPHY

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YOUNG ARTIST

Eashan DasGupta ART4YOU MAGAZINE | 151

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YOUNG ARTIST

ARTIST STATEMENT

BY EASHAN DASGUPTA I’m Eashan Dasgupta, a 16 year old artist residing in the UAE since birth. Over the years I have taken up the role of an artist who's constantly growing and exploring different themes. I’ve been creating since a very young age and have displayed signs of interest in art which my parents picked up on very quickly and have given me a lot of exposure in the field of art ever since and are constantly supporting me and helping me evolve.

The thing that inspires me to go on though is wanting to push my art as far as I can and evolving in terms of skill and ability to fuse concepts to create my own. Throughout the years I've come across artists in the field of music, specifically metal music and grunge and from them I have learnt the art of symbolism and the idea of placing subliminal messages.

Another driving factor is wanting to learn more about the world so I can use concepts in fields such as psychology and philosophy and implement those in my art.

Recently, my art journey has progressed to heights I didn’t originally expect to reach but grateful that I have. This was the year that I had participated in my first exhibition which was just the beginning to many more opportunities and surprises. My first ever exhibition was done with Art4you gallery where I displayed my shoes custom painted in dedication of the legend, Kurt Cobain and also a oil pastel portrait of him.

To me Kurt is a hero as his music was the tipping point into the themes that I later find myself infatuated with in the future. To me Nirvana’s music is the definition of rebellion against mainstream conventional music and it was music that I connected with on another level and the weird and odd aesthetic that others may not like was the one that ironically brought me peace in contrast with the scratchy vocals and heavy distorted guitar sounds and drums being absolutely destroyed.

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YOUNG ARTIST Nirvana was the first band that introduced me to the goth and edgy aesthetic which has since then stuck with me till the end. From time to time I listen to Nirvana and other grunge to remind me what it is to be different.These were the shoes that grabbed the attention of everyone, in specific, His Excellency Sheikh Suhail Mohammad Al Zarooni, whom I had a privilege meeting and also the one who assisted me in revealing the shoes to the rest of the gallery. I will forever remember that day as the day I first got to show myself to the rest of the art world. At this very exhibition I also had the privilege of meeting artists such as Ahmed Rukni and Anjini Laitu and also Ms. Sultana Kazim. Another interesting individual whom I also say I've had the privilege of meeting was a man by the name of Mr. Peter Gressman.

In the later weeks to come I met Mr. Peter Gressman again at the house of His Excellency Sheikh Suhail Mohammad Al Zarooni where other fellow artists who participated in the exhibition,had come together to receive awards from His Excellency himself. In the previous exhibition, Sheikh Zarooni had displayed his interest in the shoes that I painted so in order to show my appreciation for his interest in the field of art, I took upon the task of personally customizing shoes for him. This time I took it as an opportunity to honor another legend in the grunge era, known as Layne Staley.

Layne is another singer whom I look up to mainly due to the fact he is one of the pioneers of the grunge era which plays a big part in my art. Laynes music opened doors to much heavier sounds, heavier than Nirvana, but overall his music also had a similar effect to Kurt’s. Later in the evening Mr. Gressman offered me the opportunity to design shoes for an upcoming exhibition that he was curating. This was another huge exhibition where I got to display some of my custom designed shoes. One of the shoes consisted of the ‘vaporwave’ aesthetic.

The vaporwave aesthetic is a modern aesthetic where greek sculptures are mixed with an 80s techno theme to give a retro yet futuristic aesthetic. This aesthetic is also driven by the movie Blade Runner. The other shoe that I had showcased was another tribute to another grunge legend. So far the grunge era has been prevalent in my art style.

This final shoe is tribute to great Chris Cornell, a man with undeniably godly writing skills with the voice of an angel and a screeching demon. Cornell is recognized as one of the greatest musicians to have ever lived giving us bands like Soundgarden and Audioslave and also releasing his own solo music. Chris Cornell performed in multiple genres and maintained the profile of a versatile musician and an artist. I look up to his willingness to break boundaries as well and wish to do the same which is why I painted his portrait on a pair of shoes, specifically converse shoes as converse was a brand enforced by the grunge era which made converse popular.

So far this year has been a great year for me, the virus hasn't really negatively affected my progress, rather in contrast it has given me more time to reflect on what I really want to do. In the end, I came to the conclusion that I just want to keep learning and keep progressing and make different pieces everytime, move from theme to theme and explore different areas not necessarily painting.

BY EASHAN DASGUPTA

THE GRACE AND THE GLORY / 90 X 120CM / MIXED MEDIA ON CANVAS

BY ARTIST RISHU GOSAIN ROY

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GALLERY FEATURED

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FRIDA KAHLO

60X90 ACRYLCI ON CANVAS

BY EMIRATI ARTIST AHMED RUKNI AL AWADHI

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GALLERY FEATURED

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MOVIE ART

S P E C I A L

E D I T I O N

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PORTFOLIO

REVEALING ABOUT THE SCULPTOR: PIETRO CAMPAGNOLI ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION . 159

PORTFOLIO

WITH MY SCULPTURES I CREATE “CASTS” WITH BLANKETS WET WITH GYPSUM, PLACING THEM ON LIVING BODIES AND WAITING FOR THEM TO SOLIDIFY. IN THESE CASTS I TRY TO REPRODUCE THE SHAPE OF THE HUMAN BEING, LIKE A PHOTOGRAPH OF THE BODIES.

PIETRO CAMPAGNOLI PIETRO CAMPAGNOLI is born in Turin in 1994, where he lives and works. He’s graduated from Primo Liceo Artistico Statale of Turin. He attended at IED University, at Graphic Design.

He graduated at Accademia Albertina of Fine Arts of Turin in New Technologies for the Arts, with 110 cum laude. He started working as an artist since semptember 2011, but he draws since he was a child. He exposed in Italy and Internationally in many galleries and foundations like CAMERA (centro italiano per la fotografia), Fondazione Dino Zoli (Forlì), London Art fair (selected by the director of the Fair), Education Department at Fondazione Merz, Palazzo Barolo (Turin), Palazzo Ducale (Genoa, Italy), Artrooms Seoul (Seoul), Fondazione Bevilacqua La Masa (Venice). He is an artist part of the art and social project “Arte plurale” and “Mai visti e altre storie”, sponsored by many foundations like “Fondazione Michelangelo Pistoletto”, “Dipartimento Educazione Castello di Rivoli” and “Dipartimento Educazione Fondazione Sandretto”.

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PORTFOLIO

Like an artist, i always tried to understand and describe human feelings. I’ve got the Asperger syndrome, a form of autism that gave me a high Q.I. but bad relationship skills. In the High School i always had problems to understand the toughts of my classmates and how I must relate with them. With my sculptures I create “casts” with blankets wet with gypsum, placing them on living bodies and waiting for them to solidify. In these casts I try to reproduce the shape of the human being, like a photograph of the bodies. My works never have definite faces, because it is impossible for me to understand the emotions of the people, due to my syndrome. They are always empty, because the internal body has evolved and disappeared, and thereis only remained the envelope, like a chrysalis, but now the present individual has managed to overcome and improve his condition. This is a metaphor of my course to understand human feelings. The individual human represented in the artwork, like a figurehead, remain immovable against the storm. The wind bring him down to the floor, but he doesn’t bend, like a reef against the ocean. My work is born by the attempt to represent the “individual evolution” and to describe metaphorically my past. I had a lot of social problems in the High School because of my syndrome, and I was victim of the bullies, my artworks remind me that the stormcan be fought and defeat, if an unwavering willpower supports your mind against the lashes of sensitive experiences, and if a good captain can be surrounded by a good crew. All my sculptures are unique because every human being is unique. The most violent experiences make us the most resilient individuals. It is not necessary to ask whether soul and body are one, just as it is not necessary to ask whether the wax and its shape are one, nor generally whether the matter of each thing and that of which it is the matter are one. For even if one and being are spoken of in several ways, what is properly so spoken of is the actuality. “All my moral and intellectual being is penetrated by an invincible conviction that whatever falls under the dominion of our senses must be in nature and, however exceptional, cannot differ in its essence from all the other effects of the visible and tangible world of which we are a self-conscious part. The world of the living contains enough marvels and mysteries as it is—marvels and mysteries acting upon our emotions and intelligence in ways so inexplicable that it would almost justify the conception of life as an enchanted state. No, I am too firm in my consciousness of the marvelous to be ever fascinated by the mere supernatural which (take it any way you like) is but a manufactured article, the fabrication of minds insensitive to the intimate delicacies of our relation to the dead and to the living, in their countless multitudes; a desecration of our tenderest memories; an outrage on our dignity.” - Joseph Conrad, The Shadow Line

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ART & ARTIST

ARTWORK BY ELLINA ZHYZHYNA

INTRODUCING

“PERHAPS, LAST GAME. PERHAPS, LAST DANCE. PERHAPS, LAST CHANCE.”

BY ELLINA ZHYZHYNA

Ellina Zhyhyna - an independent artist of Russian origin, born in Ukraine and based in UAE/Dubai for almost 10 years.

The represented artwork, by Ellina Zhyzhyna during the time of Isolation and dedicated to the current Pandemic situation, is a bright example of Allegory in Art. The allegoric approach in the mentioned Artwork not only accumulates the absolutely various aspects and elements of the emotional experience, the instance of social behaviour and its outcomes, the information and tragedy, but same time successfully ties them all into a complete consonant composition full of philosophy and moral. In her Artwork the Artist competently argues that allegory reveals how objects can hold not just single, but also multiple meanings. Applying the allegorical style allowed Ellina Zhyzhyna to illustrate with the immense power all the complex ideas and concepts in ways that are easily digestible and tangible to the viewers.

NOMADIC

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ART & ARTIST

In the described artwork the Chessboard with its alternating squares in white and black colours symbolizes the reality of life with all its positive and negative moments, ups and downs. The Black Corner Side of the chessboard is angled to the foreground's center and focuses the viewer's eye and attention on the troublous times of the current COVID-19 Pandemic. Each single Square on the board means the exact position and equal to a spot of isolation, a necessary social distance advised for one’s safety in today's harsh circumstances. The position Outside the chessboard describes the hopelessness of irreversible consequences, the fact of irrevocable death the situation that already cannot be corrected by any means...

“Stop” and “Keep Distance”

The Chess Pieces(the chessmen– kings and queens, bishops, rooks, knights and pawns) outline the society of nowadays, where: the Light ones are – the representatives of caring attitude, following the advice of doctors, trying to prevent all possible risks of COVID-19 pandemic by their exemplary actions with an aim to help people of the Globe to heal from coronavirus and to be protected; contrariwise - the Dark ones are - the neglector of rules and recommendations, the “do not care” individuals infected with COVID-19, the public health and safety violators, posing a potential and direct threat to the health of the others around.

The tiny masks on some chess pieces and separately (on the floor) reflect the elementary needful tools and features of health and safety provision, which are in use, or – thrown to the floor to underline the negligence. “Stop” and “Keep Distance” warning plates in the hands of chess pieces underline the current necessity of following at least the easiest of the COVID-19 preventive measures.

ARTIST: ELLINA ZHYZHYNA

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

ART & ARTIST IA Hand of Chess Player (enhanced with the chaotic yellow surrounding particles) emphasizes a Controlling Power (which can be interpreted by each viewer in a completely different way according to the one’s personal values and believes) – e.g. .. the omnipotent Lord, the hand of Fate, or even the influence of the Global Organizations powerful enough to play their cruel games with someone's live at stake. According to the huge scale of tragedy – perhaps, it is their last game…

"EACH SINGLE SQUARE ON THE BOARD MEANS THE EXACT POSITION AND EQUAL TO A SPOT OF ISOLATION, A NECESSARY SOCIAL DISTANCE ADVISED FOR ONE’S SAFETY IN TODAY'S HARSH CIRCUMSTANCES."

The chessmen outside the board in lying position (regardless their color and range) – the departed, whose lives were taken tragically by COVID-19.

A Pawn being lifted by the rook in mask (not far from the chessboard's left corner) narrates about a person infected with virus and being in between life and death, where the Rook embodies the doctors fighting for this person’s life intensively.

A Pawn climbing the ladders (at the front side) depicts a person who has a very lack of chances to survive, however still trying to fight for the life by himself without any aid from the others. A separate pawn and knight (at the back, as well as at the front) all together describe the humans in isolation.

A black Bishop gives a white pawn away to a player's hand (to the right side of the background) describes the horrific moment of one's life being just taken through the other one's fault.

A front stage with the black King inviting the white Queen for a dance clearly shows an infected individual convincing a still healthy one to skip the mandatory of isolation with an aim to enjoy the pleasures of the life regardless all possible risks.

The plume of gray ash coming from the back of the Black King and heading to the left upper corner of the Artwork was applied by the artist to express the spread of the virus - rapid and merciless. The joy of the King’s and Queen’s dance is fleeting, but the price to be payed for this joy is too high, as it costs a life. Perhaps, it is their last dance...

The upper middle Triangle Area in white colour is a symbol of the total Healing and Freedom from the sufferings caused by COVID-19 pandemic, greatly expected by all of us – the human beings.The World still has a chance to heal. Perhaps, last chance…

In Ellina Zhyzhyna’s artwork the classic chessboard demonstrates typically only about 36 legal moves for the chessmen to take their strategic steps whatsoever. As an artist and as one of the human being representatives, Ellina happily exclaims that comparing to a chessboard, the real life has much more options thanks to God, what definitely grants a great chance for all of us regardless the current tough times.

BY ELLINA ZHYZHYNA

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

ART & ARTIST

DUAL PERSPECTIVE By

Varsha

Saju

Nair

EMOTIONS 13 - ‘Dual Perspective’ / 52x42CM /CHARCOAL BY VARSHA SAJU NAIR

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ART & ARTIST While

this

period

has

drastically

rerouted our course of life, it has also brought

with

it

opportunities.

a

gold

Nature

has

trunk

of

benefitted

from this lockdown, CO2 emission have dropped drastically and oceans are

thriving,

and

nature

have

more

although

marine is

life

is

healing.

time

prospering

Now

families

together,

separated

by

friends distance,

became closer by heart, what we once neglected,

now

became

our

prized

possessions. We learnt the value of our freedom the

in

confinement,

importance

through

distance

of and

our in

we

learned

friendships the

end,

we

learnt to be ONE.

OBSTACLES ARE LIKE ROSES, YOU CAN EITHER WHINE ABOUT THE PESKY THORNS OR FOCUS ON THE FLOWER’S POTENTIAL.

EMOTIONS- ‘Robust’ / 52x42CM

A DESIRE TO CREATE

EMOTIONS 12- ‘Introspective’ / 52x42CM

BY VARSHA SAJU NAIR - EMERGING ARTIST There

was

a

period

of

complete

lockdown,

people

were

instructed

to

stay in their houses and avoid going out unless absolutely necessary. The intrusion of an unexpected and unwelcomed guest, the COVID-19 virus, forced

nations

breathing

in

to

implement

fresh

air

became

precautionary hazardous,

measures

the

embrace

and of

suddenly,

loved

ones

which once brought happiness and joy now brought fear and worry and the

thrill

of

going

greatly

difficult

drastic

change

out

for of

became

people

online

of

a all

chore. ages.

schooling

and

This

period

Children adults

has

had

had

to

to

proved adjust

worry

to

be

to

the

about

the

economy and their health, simultaneously.

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

ART & ARTIST

Art is like therapy, it helps you open up and helps you blossom into something utterly brilliant.

-Varsha Nair I CREATED MORE WORKS TO ADD TO MY ACRYLIC SERIES TITLED ‘IMMERSE IN COLORS’ AND TO MY CHARCOAL SERIES TITLED ‘EMOTIONS’ AND ‘INNOCENCE’.

I

am

a

student

process

of

and

I

adjusting

had

to

to

such

go

through

changes.

It

the

was

whole indeed

difficult and at times it even became overwhelming, but we are humans, and it is in our nature to adapt and so I did

just

that,

I

adapted.

Obstacles

are

like

roses,

you

can either whine about the pesky thorns or focus on the flower’s potential. I got more time to engage in activities I

enjoy,

such

as

subconsciously

art

and

music

rediscovering

and

hidden

I

found

parts

of

My works titled ‘Introspective’, ‘Dual Perspective’ and 'Robust’ were displayed in a virtual exhibition titled ‘Creation in Isolation’ by Art4you Gallery and has received immense appreciation and love.

myself

my

own

soul.

‘Robust’

The works of

human

and

expression

‘Introspective’ s h o w i n s t a n c e s ‘Dual Perspective’ f o c u s e s

while

more on the ability of a human to view the world in two Mental health was one of my biggest concerns as I was

different

acutely

wanting

aware

of

what

prolonged

isolation

could

do

to

perspectives, to

build

and

one

being

progress

the

and

view

the

of

other

a

person

being

the

the mind, but thankfully I had ART to guide me through

view of a person wanting to develop hand-in-hand with

this. Every time I sit to paint, i forget all that I have to

nature.

worry

about,

at

that

very

paints and my canvas. harmonies that

of

moment,

a

choir,

moment,

there’s

just

me,

my

Art has the effect similar to the you

everything

lose is

yourself

okay.

I

to

bliss

spent

my

and

for

time

in

isolation dedicated to art, music and my academics.

These

3

isolation wanted

artworks

were

and

all

these

are

works

created

part to

be

of

during

my

series,

expressive

communicate with the viewer.

the

and

must

remain

measures

does

precautious. not

mean

The

the

relaxation

virus

is

of

eliminated,

certain so

we

must remain calm and composed and be safe.

period

of

‘Emotions’. suitable

While we all are eager to run back out into the fields, we

I

Let us stand as one to eliminate this virus and let us be strong.

to

Stay home and stay safe.

PAINTING : SOLITUDE BY MINAKHEE MISHRA

ART & ARTIST

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ART & ARTIST

One of the most certain things during these uncertain times is that, our mind has become the busiest street with the most chaotic intersection of thoughts. The more we struggle the quicker we are pulled into the quagmire of negative thoughts. The pandemic is real but our panic mode augments it. Art offered me a safe passage to that peaceful spot

each

time

the

deafening

noise

threatened to drive me insane. It was hard to ignore the 24* 7 media updates, WHATSAPP forwards from well-wishers and the daily challenges. During such times I would just dive into the one thing I knew which distressed me. In this world I had complete control and I was the creator. If I ever made a mistake all I had to do was repaint it or make it look like an important part of the artwork.

PAINTING : ACTOR IRFAN BY MINAKHEE MISHRA Solitude was a digital artwork I created. It was special because it was the first time I was making a digital art. Maneuvering my way through the new challenges made me feel like a kid learning a new game. The painting depicted a woman in a boat in the midst of nature. The artwork is a portrayal of the most sacred moments when one finds bliss. Being locked in the house away from friends and things that one loves to do does not have to be a caged feeling. Isolation and loneliness are not the same. While it is possible to feel lonely in a crowd, isolation can bring joy and delight. It offers us a chance get acquainted with our inner self, re-evaluate, re-invent and re-orient. We are able to travel into places through our minds when we are able to embrace solitude.

My second painting for Creation in Isolation exhibition was a charcoal piece created as a tribute to one of the greatest actor and human being we lost during the pandemic. Titled, as Irfaan the art was homage to the grace he displayed even during his struggles.

COVID has brought the entire human race to the edge of a peak with a deep fall of no return on all sides. Right now, we are going through one of the deadliest pandemics in recent history. This is the safe haven to be creative.

ARTIST : MINAKHEE MISHRA

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ART & ARTIST

SHEIKH MOHAMMED ILLUSTRATION

BY SCRIBBLE ART@JAY-R-CORTEZ

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ART & ARTIST

BY DIVYASA MISHRA

SHADES SHADES OF OF LIFE LIFE

I am an 18-year-old 1 st Year Animation and Design student at SCAD,USA. Creation in Isolation is the 1 st exhibition I have ever participated in. It has been a thrilling experience to have my artwork exhibited virtually on the same platform as professional Artist. I consider it a huge honor that my artwork was among the top 9 winners.

ARTIST : MINAKHEE MISHRA

PAINTING : SELF PORTRAIT

BY DIVYASA MISHRA

Self Study is a self-portrait where I have tried to depict thenmotivation behind my dream. The animated movies made by the cinema giants like Studio Gibli and Disney have been a huge influence in my career choice. Both the cheeks depict the logo of the studio houses. I do not know how things will pan out in the future but I literally flew 1000thousands of kilometers be isolated with my family and to be safe.

I still remember the panic in my parents voice back in March when they urged me to pack my stuff up and head back to Dubai.

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ART & ARTIST

My second piece represents a sculpture of the Pharaoh Ramses the 2nd . This piece was extremely challenging since I had to draw in negative. In a nutshell the canvas was completely black and I had to scratch out the intricate details and highlights. I was satisfied with the end result especially because of the challenges I overcame while creating this artwork. I guess life is never just black and white. It has infinite shades in between. In our endeavor to blend, contrast, darken and sometimes smoothen these shades we learn and improve ourselves.

"The animated movies made by the cinema giants like Studio Gibli and Disney have been a huge influence in my career choice."

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

CREATION IN ISOLATION - Ma Teresa Binghay , Philippines

The Covid-19 outbreak has seen sweeping changes across the art world. I was asking for Gods guidance and really thought deeply how I can help humanity even in my own small and humble way.

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PHOTOGRAPHY : REATION IN ISOLATION BY AKSHITA BHATIA 30x42CM

ARTICLE

ARTICLE

Effective immediately Bahrain airport is closed for 48 hours! That was February 24, 2020 news headline that really shocked that the whole GCC region as the country was challenged of their first positive case of the historic Covid-19 pandemic.

I was on my way to the Kingdom of Bahrain to have sequence of roadshows for my company MEGAWORLD when the lockdown seemingly started. I flew from Cebu, Philippines to Dubai last February 20 to catch our most awaited FERC Fuels Investors Night, an event few Filipino entrepreneurs are taking part of and I shall say luckily, I was caught with the lock-down! I say I was lucky rather than not because it was due to this incident I paved the way to my ever longtime dream of doing something important into becoming a reality.

ABOVE :ISOLATION: AWARENESS OUT OF THE BOX

BY TOM ALVARADO OBRA - 60 x 90CM

During the first few days after the Bahrain news, the UAE government had announced to protect its citizens and expat residents alike, we were on lock-down! I wanted to become a part of the emerging event. I hoped to be remembered by my children and loved ones as somebody who did not just stood there and wait for pandemic to vanish.I was asking for Gods guidance and really thought deeply how I can help humanity even in my own small and humble way. Then a miracle happened one day when a very good old friend of mine, who happened to be back in the Philippines for good did something that inspired me! I know I can do it and I have the passion.

LEFT : THE SPLASH PHOTOGRAPHY BY DEVIKA MENON

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ARTICLE

In the four corners of our apartment from the time I got up from bed after my daily regular meditation of the day, I would start up scribbling my pen with scratch papers messed up around me.

It took me two full weeks to finish my task just taking breaks in between meals and finishing it with my daily night Zumba, sometimes alone, sometimes with my girlfriends. I was determined and dedicated I can do it and I will finish it. Finally, my mentor Jonas, same friend that I spoke about made and helped me to roll up and sleeves and proceed. I would have never thought I will be able to do it since my target to launch my first ever book is still few months away, that is on my birth month of October!

"My book - Calming Down From The Lock Down, 30 ways to an amazing life, entails my life journey and experiences during my childhood days and how I become who I am today" says Teresa Binghay

In the four corners of our apartment from the time I got up from bed after my daily regular meditation of the day, I would start up scribbling my pen with scratch papers messed up around me.

It took me two full weeks to finish my task just taking breaks in between meals and finishing it with my daily night Zumba, sometimes alone, sometimes with my girlfriends. I was determined and dedicated I can do it and I will finish it. Finally, my mentor Jonas, same friend that I spoke about made and helped me to roll up and sleeves and proceed. I would have never thought I will be able to do it since my target to launch my first ever book is still few months away, that is on my birth month of October!

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

ARTICLE If other took this pandemic and the isolation of the lock-down negatively, for me, it was a blessing. I took it in such great turn of events, that even I missed our business agendas, which all businesses are experiencing at this time, I made the impossible! I became an author and I will be remembered in history! Our real life heroes, the frontliners whom I dedicated my book will never be forgotten too!

PHOTOGRAPHY : ARABIC WOMEN

BY KRISH - MUTHU KRISHNA

Weeks forward, my book was launched right after my publisher got my International Standard Book Number and my name etched on the archives of our very own National Library of the Philippines.

Voila! This unfortunate solitary state of ours, turned blessing in disguise surely gave me and most of the humanity to become more resilient and stronger in facing adversity. This will be anticipated in the next hundreds of years to come as we are able to contribute to its documentation and the real show of solidarity towards helping each other. We will be able to pass this challenge of our time.

PAINTING : SOLEMNITY / PENCIL & CHARCOAL

BY REINARD JANSEN TEODORO / 11.2 x16 INCHES

I thank God first and foremost, for all His guidance, protection and blessings to the UAE leadership, who have kept us safe. I also thank God for the gift of family and friends who’s support made this isolation of mine fruitful and colorful. I extend my gratitude and humble sense of pride to art4you art gallery for this amazing opportunity to contribute to this article.

My book Calming Down From The Lock Down, 30 ways to an amazing life, entails my life journey and experiences during my childhood days and how I become who I am today. I am humbled to share it to the world and reap benefits from it. I look forward to give hope and inspiration to whoever be touched with it, specially in this trying times.

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ARTICLE

UNTURNED STONES

By Saju Nair

Isolation was just a common word and was not frequently used in our normal life.

Since the start of COVID-19, the biggest health crisis of the century, the word ‘Isolation’ started gaining importance in regular vocabulary, but this was expressed in apprehension by the world. The Invasion of this virus, which is a threat to humanity, has left the medical world in undue uncertainties to develop a vaccine or a medicine to confront this uninvited guest and has raised challenges due to its rapidly increasing number of mutations.

Nevertheless, the research and development of medical institutions across the globe are relentlessly working to develop a vaccine that is expected to find success anytime.

IMAGE SOURCE: SAJU NAIR

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ARTICLE

“The word ‘Isolation’ started gaining importance in regular vocabulary”

Even as every growing day, the number of positive tested patients are on the rise and the statistics as on 12th June, the day. I am writing this article, the mortalities are below 5.63% and the recuperation rate is above 50% globally.

These statistics gives rays of hope for the world to fight back with all its strength to eradicate this pandemic and to return to normalcy, probably ‘a new normalcy’.

The world has overcome many lethal obstacles during its journey and COVID19 is also one among them who is set to get the befitting treatment even though this has claimed life of some of our loved and dear ones.

BY SAJU NAIR

CORRESPONDENT TELEVISIONARIO2 UAE & ITALY

SOCIAL DISTANCING ILLUSTRATION BY SCRIBBLE ART@JAY-R-CORTEZ

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

ARTICLE Isolation has also opened arrays of opportunities to enhance family bonding, our passion and to analyze and rediscover ourselves to bring light to the hidden talents in us. We avoided going to hospitals for those illnesses which are not a serious concern and followed ancient medical methodology while we also adapt to a healthy diet. A new concept of E-learning got introduced and has succeeded as the younger generations followed and accepted with curiosity. CO2 emissions globally plummeted to a much lower level ever recorded during this period that has indeed helped Mother Nature to rejuvenate and to preserve herself for generations to come.

ALESSANDRA GIORDA JOURNALI ST TELEVI SI ONARI O2 TURI N, I TALY

As I am a person who closely follows the art scene, I have realized that the creative field has witnessed an inspiring growth during these times. Emergence of new artists have given life to some fabulous creations while the professionals have initiated new concepts which has produced some magnificent creations. As support for the artists to provide a platform to showcase their creations to the world, galleries have given life to some phenomenal virtual art gatherings exploring and utilizing all available resources of modern technology that has indeed generated a huge fan following for artists and galleries from across the globe. I have been privileged, to be a part of these gatherings in UAE, one or the other way, which has helped me to know artists and their creations so closely which has aided me to enhance my knowledge and also an interesting subject for me to get engaged in.

Even though we are restricted at home these virtual gatherings has brought the world closer to our home spreading the message of unity and togetherness. I am honored to be known to Ms. Alessandra Giorda, the founder of IlTelevisionario2 wherein the collaboration with this globally recognized online magazine helped me to utilize my time to learn and know more about art and artists. Last, but not the least it was my daughter, Varsha Nair’s passion in art that ignited my hidden passion in literature.

My sincere gratitude to ART4You Gallery for your inspiring and commendable efforts to maintain the momentum in art industry and for having me in this e-Magazine.

ART4YOU MAGAZINE • ISSUE 1 • SPECIAL EDITION

PIECE OF POETRY

MY DEAR LOCKDOWN

By

Shereen

Abraham

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PIECE OF POETRY

THE REFLECTION What do you know about me...

About the roads and destinations that unwinds in my journey I may be the wisp of air that passes you by I may be the bird that gets gunned down in a war waged sky What I need and what I yearn for What will help me and what I seek for

POSTMODERN PAINTING. Stella alternately paints in oil and watercolor

Is just unknown and beyond you It may be the golden speck on some flower divine Or could be as simple as a tender word from someone who wouldn't be mine Your columns and pillars may not keep me Your oceans may not ever contain me What I seek for is a little pebble to tie myself to...

And a little raindrop that would quench my deepest thirst too...

BY MS. SANGEETHA MOHAN (ACTRESS, POET, WRITER)

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PIECE OF POETRY YOUNG TALENT

POST-MODERN HOUSE

SPRING Spring comes.

As you lay still, And summer follows.

A turmoil of our years .

Even though this rock Doesn't move, Even though this tree Doesn't breathe.

Sring comes, As we rest our eyes, And summer follows.

A hint of your warmth .

Commotion of limbs under the roof Areas abundant to tread past Held up on the ‘Mouse’ Mind flutters in the infinite sky Miles of distance between rooms Not at all noisy dining table Drawing room built in muteness Deep pits in the bedroom Flatly dispassionate veranda Shower of tears in the bathroom Storeroom that retains nothing Half-boiled lifeIn the kitchen, where worries burn As there is hardly any yard No space for flowers to blossom And beyond the gate,Ice mountain or so...

BY

ISMAIL MELADI (POET& WRITER)

Even though my skin Feels nothing but dust, In this isolation, we rest.

Our minds asleep.

While we dream of life.

A long awaited reunion.

Spring will come.

And summer Will follow.

By Kalika Aloni

ABOUT Age - 20yrs Studying ART @Leeds University

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THROUGH THE LENS

PHOTO LEFT: SOMEWHERE IN GREEK ISLAND. PASSING THROUGH TUNNEL GOING TOWARDS SEA. RIGHT: CHILKA LAKE, ORRISA. THE POLES SHOWS BOUNDARY OF PROTECTED AREAS. AWAY FROM ANY INTERFERENCE THE BIRDS ENJOY RESTING TIME ON THESE POLES.

PHOTO LEFT: MONTENEGRO. LONE CRUISE SHIP IN THE MIDDLE OF SEA WAITING FOR THE PASSENGERS TO RETURN. RAIN CLOUD FORMATION ABOVE ADD TO DRAMA. RIGHT:KENYA. LONE ZEBRA AWAY FROM HERD. MAY BE WAITING FOR OTHERS TO FIND HIM.

PHOTO LEFT:PHOTOGRAPHER AJAY ALONI RIGHT:WAY TO LADAKH. IN BETWEEN TWO MOUNTAIN PASS.

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THROUGH THE LENS

LET'S NOT CHANGE By

Rabáh

El

A'awar

PHOTOGRAPHY CREDIT @Mir-Kian Roshannia

Born in Tehran, Live in Tehran and Toronto, Dentist. Interested in Digital Photography from 2001.

Studied at Tehran Fine Art University & Faculty of Photography. Attend in “Image of the Year” Tehran – Iran from 2008 till now . Work as a freelance photographer with interest in Fine Art photography.

Interested in making films from 2007, studied at Tehran Fine Art University Faculty of Cinematography as a freelance student. Work as a Director by making experimental and Documentary short films.

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COVID BLOG ENTIRE LIFESTYLE CHANGES TO PRACTICE BETTER HYGIENE Being hygienic is no longer just a good habit, but the very skill you need for survival. Times have changed, and people are now aware of how important it is to keep yourself clean. As social animals, the very engineering of humans is the ability to emote & connect with fellow beings. That’s not going to change, and that’s something we cannot change. But these recent times have made us all aware of how to do that more hygienically.

From shaking hands to namaste, we all have had a lifestyle change for the good.

We’re going to remember to cover your mouths when we cough, to sanitize our hands aftertouching anything else because we know what can happen if we don’t.

INNOVATIONS TO STAY CONNECTED & HELP EACH OTHER This quarantine welcomes ideas, hacks, tips, & tricks to beat the lockdowns & help our communities. Companies across the world have started thinking about coming up with product & service ranges that enable you to be as connected as you are with your teams and also your loved ones.Finding creative ways to not let the boredom of four walls get you is the newest trend and rightfully so!

This has opened a new way of thought.

Organizations cannot just stop functioning altogether, and each is coming up with the ultimate ideas to attract & sustain both their customers & employees.This may as well lead to breakthroughs & innovations.

You see, innovation happens for nothing, but when the environment demands it!

And let’s wait for the coolest ideas that can take the world by a storm.

STAY PHYSICALLY DISTANT BUT SOCIALLY CONNECTED. PLEASE TAKE CARE & BE SAFE

L O C K D O W N

By Megha Manjarekar

Six months into 2020, Can we uninstall 2020? Start fresh! With countries & cities getting into lock-downs and lives pulled into a standstill, Corona virus has made communities stay away from each other for survival.

In this time it is so obvious to lose hope and feel helpless, surrounded by negative vibes with side effects on our life. Especially when as a community we’re battling a global pandemic.

Life is too short to explore the world. It is your attempt to get special experience from life, which makes you miss the actual experience of life. Life is not something you get it is something you experienced. Ups and downs are a part and parcel of life. Time is the best healer, and mother earth has its own Plan to rejuvenate her.

This lock down period, with ample time, finding creative ways to not let the boredom of four walls get you is the newest trend and rightfully so! Talking about my art work, honestly speaking; I had started something on canvas, but was not satisfied with the outcome, so I started playing around with black and white colors’ and the final result is in front of you. I feel as a Sentimental person, my painting always has a strong bonding with the people who stand strong during the crisis.

Sure, maybe you were lucky enough to go for family vacations every now & then.

But even then, didn’t you dread those pending files waiting at your workstation?

“INCREDIBLE THINGS CAN BE DONE SIMPLY IF WE ARE COMMITTED TO MAKING THEM HAPPEN.” - SADHGURU

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COVID BLOG

COURAGE TO CREATE

BY AISHA JAVID ALI MIR

This year, many unexpected events took place, things that no one had ever imagined over the past decades. We got a lot of time to spend with our own souls, rethink our decisions, our deeds, many unanswered questions got the right time to come in front of us.Did I do anything good for the world?

Am I self-contented?

Am I the best version of myself?

Why did I prevent myself from enjoying every single moment in my day?

What and who did I take for granted in life?

We were almost lost in the buzzing thoughts, many didn't know how to fight this chaotic situation. One of the things that helped us reconnect with ourselves was ART. This Art is a very unique element of our lives. It helps us escape all fearful feelings, combat depression, and takes us to a beautiful world to return back with hope and optimism, but many times it also pushes us from our fancy bubble to see how was life during a specific era.

Years ago, when I started painting using old and expired cosmetics, I had one goal: I want to see my planet full of life once again, fascinating and beautiful as if it got a makeover! I was the first artist globally to take waste sticky, melting, and dry products from people and recreate in an eco-friendly way. It was the process and the cause that motivated me to continue and work harder to prevent more cosmetics from reaching the landfills. I introduced a new word, naming myself Artientifique (A person who practices Art and Science simultaneously). Statistics kept pouring in, words started framing into sentences to spread awareness about the vast destruction caused to nature by just throwing away one lipstick in the bin. Many young students joined in as volunteers, together we were creating a huge impact across continents.

TODAY, ARTIENTIFIQUE HAS REACHED SEVERAL COUNTRIES, MAKEUP PAINTING IS NOT ONLY A FORM OF ART, BUT IT IS ALSO AN ENVIRONMENT CONSERVATION ACTIVITY, A SYMBOL OF BEAUTY TURNED INTO BEAUTY.

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COVID BLOG

#MAKEUPPAINTERS #CREATEFROMHOME INITIATIVE BY #ARTINTIFIQUE

In the hustling bustling busy world, where there is no time to even watch the flock of birds flying swiftly above our heads, the mesmerizing shades of the colorful sky. I just wished if there could be some kind of a pause button to make us realize how cute the squirrel in the backyard looks after grabbing its nuts, understand that every fall gives you a new beginning, raindrops are a perfect example. It was then when I decided to reflect on these values in my artworks, which would act as a pause button for us. Something more than a painting, a frame making you smile, as if it was a mirror. It should give you a chance to stand still and dive deep, observe every single detail, then enjoy the big picture.

During the lockdown, Art has energized us, tickled our brains to come up with innovations. Everything created during this period will be a part of History, we are penning down its words. Every creation in quarantine will possess a unique identity, a different perspective. In March, we called out for writers, poets, bloggers on social media, these creatives were to be published in an EMagazine as our quarantine project, released on World Environment Day 2020.

In April, I announced the #MakeupPainters #CreateFromHome initiative, inviting all artists across the globe to join me in creating unique pieces of art from their beauty products, believing that this would help them learn something new in isolation, and many females actually discovered the hidden artist within themselves. I was so happy to see them take a step towards saving our planet, supporting #artientifique.

You need to take a lot of preventive measures while working with discarded cosmetics. I wear gloves, cover my nose if needed, making sure no waste residues are left on the desk. Every cosmetic bottle/tube/palette needs to be cleaned first before upcycling the material inside it so that it becomes germ-free and safe to use for the artist. I have separate tools for extracting the material, designing motives, creating new textures, intensifying the color, and improving their durability. These tools are not mixed with my other art tools at all. If you are working with one or two products, you may not feel the need to do all this, after all, it is your own makeup and you know its condition. But when I work in my art studio, I mean kilos of cosmetics, literally big boxes full of oozing foundation, and leaking nail paint, broken shadow palettes, and dry kohl. But when these products are given a new identity as an exclusive painting to adorn our walls, they again show us that beauty is everywhere, we just need to search for it and value its presence.

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EXHIBITION

CREATION IN ISOLATION BLACK & WHITE ART SHOW AB O UT EX HIB ITI ON Beauty of Black & White!!!

Do you like positive and negative tones of black and white?

Come and Explore it here!!!

Exhibition opened on May 30, 2020

BY ART4YOU GALLERY Black and white speaks strongly to us, we have always been a fan of the contrasting beauty of the opposite colors.

During these pandemic times of Covid-19, as an increasing number of galleries and museums temporarily close their doors, we Art4you Gallery has adapted the artists creativity and work to accommodate this unknown period with this episode of Virtual Art Exhibitions.

WELCOME ALL OF YOU TO EXPERIENCE THE HALLWAY OF ART at "Creation in Isolation"

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EXHIBITION Abeer Rantissi - Jordan Akshita Bhatia - India Aleksandra Ogórkiewicz - Poland Anas Abro - Pakistan Bernardo S Geminiano - Philippines Cleah Bautista - Philippines Devika Menon - India Dhan Prasad - India Dr.Hafsa Banu Abid - Oman Divya Amit - India Divyasa Mishra - India Dr. Maggi Soni - India Ellina Zhyzhyna - Ukraine/Russia Gerry S Garcia - Philippines Harini Kumar - Oman Iva Sabolic - Croatia Jaya Phulwani - India Jeff Canare - Philippines Julius Cesar Villarta - Philippines Manuel Guillen - Venezuela Maryam Tavakoli - Iran Megha Manjarekar - India Milind Dhavale - India Minakhee Mishra - India Mohamed Gourashi - Sudan Muberra Bulbul - Istanbul/Turkey Nada Al Barazi - Lebanon Nadeem Yaqoob - Iran/UAE Namratha - India Neha Prajapati - India Neelu Patel - India Prasangani Dunuge - Srilanka Ranjisha Raghavan - India Renu Shivam - India Reinard Janson Teodore - Philippines Rita Karam - Lebanon Sabiha Sultana - India Sharmila Tulpule - India Sheethal Durve - India Sidra Ashraf - Pakistan Sumana Malakar - India Supriya Singh Baghel - India Tayseer Kawaf - Syria Tom Alvarado Obra - Philippines Varsha Saju Nair - India Veena Devagiri - India Vikram Gupta - India

PARTICIPANTS: 16 NATIONALITIES 47 ARTISTS 66 ARTWORKS

ISOLEMENT

BY RENU SHIVAM

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EXHIBITION

BLACK N' WHITE Some selected artworks from the Art4you Gallery Virtual Exhibition

LOST

BY HARINI KUMAR

HIDDEN PEARL

BY JEFF CANARE

DURING ISOLATION

BY SIDRA ASHRAF

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EXHIBITION

I OBEY TOO ( I AM SAFE, YOU? )

BY NEELU PATEL

THE HIDDEN COLORS

BY RANJISHA RAGHAVAN

KNOCK KNOCK ! LET THE JOURNEY BEGIN.

BY NAMRATHA KOTEKANI

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EXHIBITION

SOUL SEARCHING

BY ANAS ABRO

RELIEF

BY MOHAMED GOURASHI

SUNKISSED

BY SHEETHAL DURVE

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EXHIBITION

CONSTANT EVOLVEMENT

BY JAYA PHULWANI

PEACE

BY DR. SHARMILA TULPULE

ISOLATION - SOLITAIRE

BY JULIUS CESAR

PORTRAIT OF DANIEL REDCLIFFE

BY SABIHA SULTANA

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EXHIBITION

THANKS TO OUR SUPPORTERS OF CREATION IN ISOLATION!!!

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COMPETITION

THANKS TO OUR JURY!!!

WINNERS!!!

THEME : BLACK & WHITE - "CREATION IN ISOLATION" Top 3: Photography / Digital Art 1. Julius Cesar Villarta from Philippines 2. Vincee Stevens from Australia 3. Divya Amit from India

Top 6: Original Paintings

1. Vikram Gupta from India 2. Reinard Janson Teodoro from Philippines 3. Mohamed Gourashi from Sudan 4. Divyasa Mishra from India 5. Dhan Prasad from India 6. Bernardo S Geminiano from Philippines Jesno Jackson - The Curator, has run this competition to raise awareness of the truelife people faced during Covid-19 to defeat corona virus pandemic.

Top 9 artworks are considered for this 'Special Edition' Magazine's front cover, and the selected artworks are considered throughout the pages of this magazine.

Regards & Love,

Jesno Jackson & Rengi Cherian Art4you Gallery Founders

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ISSUE 01 | SEPT 2020

GALLERY FEATURED Untitled - Concrete Sculpture 82cm x 54cm x 10 cm

By Italian Artist Mario Loprete

The Lady with the bow / Acrylic on canvas, 122 x 154 cm Year 2020 / Artist : Gina Plunder -Germany

YOUNG TALENTS Sunflower by Vincent VanGogh Recreation /60 x90cm Acyrlic on canvas Artist - Adelina Maria Baldivin

The one street path 60x 60 cm / Acyrlic on canvas Artist - Jenetta Susan Jacob

Flame of the forest Acrylic on Canvas / 35.5cm*27.5cm Artist : Manjula Kaimal -India

Immemorial / Pen and Ink on Wasli / 6X8 inches / 15.24X20.32 cm Year: 2019 /Artist : Farruk Adnan - Pakistan

Nature Beauty Recreation /60 x 60 / Acrylic on Deep Edge Canvas Artist - Jhanvi Shankar

ART4YOU MAGAZINE | 196

ISSUE 01 | SEPT 2020

ART4YOU MAGAZINE

ART4YOU GALLERY FOUNDERS

RENGI CHERIAN (CEO -ART4YOU GALLERY)

JESNO JACKSON (FOUNDER & CURATOR)

JENSON RENJI CHERIAN

(CREATIVE DESIGNER)

About Art4you Gallery: WE ARE CREATED TO CREATE !!!

Founded in 2009, Launched and run in Dec 2015 by Artist, Art teacher, Art Activist and Art curator- Jesno Jackson, Art4you UAE in short span (from Sept 2016), established into a leading Art Gallery Community in the UAE Region. Since our inception in 2009, I, Jesno Jackson and Rengi Cherian-the Founders of the community launched Art4You in India in Dec 2015, were committed to engage and collaborate with different corporates, artist volunteers, gallery, media partners and individual to foster community base projects. We believe that every person has the right to live and experience art.

Art4you is a multicultural non-profit platform with a mission of connecting artists, art activists and volunteers together to create various community-based events like Live Art Events, Community services, Art Tour, Plein Air Sessions, Art auction, Street arts, Art Talent Programs for students to create and educate, etc...We are supporting and promoting local, UAE based international artists to inspire and engage them and foster social development projects from community events and exhibitions, art mentoring in the form of classes, private tutoring and workshops to provide services and access of affordable artwork to buyers and collectors.

Our vision is to make original art accessible to all and to educate and develop a culture of buying art in support of local artists.

Art4You Gallery is proud to introduce a selection of paintings for sale by some of the best artists, which are available for viewing in Dubai/Sharjah, onappointment. We hope you find a piece so beautiful that it moves you, and then you will understand why we did what we did. Keep in mind; we are always willing to help you find the right piece- YOUR ART YOUR WAY. Art4you Gallery UAE celebrated its 3rd Anniversary in Dec 2019.

OUR VALUE:*CREATIVITY

*ARTISTIC LEADERSHIP *PUBLIC ENGAGEMENT * COLLABORATION

"People will forget what you said, People will forget what you did, But People will not forget, How we made them feel.

"Anything is possible with a TEAM! OUR MOTTO: “ONE TEAM ,ONE DREAM" Follow us: @art4yougallery

@art4yougallery_art

00971509398211

Art4you Gallery - Jesno Jackson

@jesnojackson - art4you

@art4yougallery

art4you.artgallery@gmail.com