Dhruva Mistry

Something Else

Dhruva Mistry August - September 2014

Sakshi Gallery

Perhaps when we find ourselves wanting everything, it is because we are dangerously close to wanting nothing.

Sylvia Palth ( 1932-1963) The sensual experience of being alive is comprised of mind, matter and their interrelationship which is the illusory dream of the comprehension of reality. It is the power by which the universe becomes manifest, as one creates the illusion or appearance of the phenomenal world as Maya. The Sanskrit notion of illusion or dream and universe both being manifestations of Maya re-captured my imagination in summer 2008 following a severe paralytic stroke.

On the way to a painfully slow recovery, Something Else emerged out of the crisis as a welcome respite.

Something Else, the resultant works, are unique relief pieces of 32 x 41.5cms, water-jet cut, 1mm thick stainless steel plates painted with epoxy paints. There are several sets with 9 pieces each in vertical as well as horizontal format, titled, numbered and signed by the artist. Configuration of each piece refers to one of the nine emotions with a corresponding hue. The cut outs reveal sculptural beauty of classical Rasa like, Rati or love, Hasya or mirth, Karuna or sorrow, Rudra or anger, Vira or energy, Bhayanaka or fear, Bibhatsa or disgust, Adbhuta or astonishment and Shanta or tranquillity as they affect the living beings and inspire artistic expression.

In the

age of vice or Kaliyuga, some of the most shameful incidents of rape, murder, sexual abuse and female foeticide present demonic desire, brazen strife, socio-economic discord and ideological

contention. Cut outs of silhouetted torsos create a kind of metaphorical abstraction that deters perception of female form as popular sex objects. Maya remains an engaging entity precisely because it is 'everything' and 'nothing'. In the absence of it being 'anything' as such, I see it as 'something else' which nurtures my being.

Dhruva Mistry

Something Else - Set M 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Ma + Ya Ya ma sa maya She/One who is Nothing Gunasamyeti mayeti shunyam Equipoise of the creative-operative-assimilative attributes, the gunas, is Void.

"MA

means

Nothing/negation/Void.

YA

means

Her/Such/Nature. MA is The Void while She is The Mother principle of everything. The existential truth is Nothing in Being but everything in Becoming. This paradoxical reality is Truth and Tantra is the structure of Suchness of Being but Nothing." - Kulavadhuta Satpurnanda The Western artistic tradition after it's Greco-Roman epoch has depicted the feminine form in two major archetypes : the first being the mother, as seen in reoccurring motif of Madonna with the baby Jesus and the second being the Nymph which is seen in Western Art's long standing tradition of the nude. This duality is illustrative of the schizophrenic nature of the West's approach to questions of femininity and sexuality. It is either perversely celebrated through lecherous images of feminine flesh, or condemned by appealing to asexual reproductive motherhood of Mother Mary's 'Immaculate Conception'. The Indian approach to femininity as has been pointed out by the artist is one that does not separate these two essential portions of the feminine. Sensuality and sacredness are not

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different things in the Indian worldview : for the Tantrik, his wife is his mother and his mother is his wife; and that is exactly how he approaches the goddess. As 'Ma' she is the void, the pure potentiality of everything and as 'Ya' she is the birth-giver, the supreme creative act. The depiction of goddesses in Indian traditions (Hindu/ Buddhist/Jain) is along these lines, neither is the form completely naked or is the form completely cloaked, rather clothes only appear as to accentuate the beauty or fierceness of the body which is displayed with a most natural ease and not as an object to be objectified for anyone else's pleasure. They are mothers and lovers, Shakti is possessed by the Shaktimaan, but yet Shakti's relationship with Shiva is not a master- slave dialectic, she is most certainly the master of her body, she is one with Shiva, for while being his wife, she is also his mother.

This series of works tread a fine line, invoking the Western tradition of the nude and working with a modernist- minimalist approach, the artist presents a challenge to western conventions of viewing the female body (which undoubtedly has been internalised

by Indians as well). Cutting out the figure in negative space, i.e. drawing the nude as an absence, it foils the viewing eye's attempt to relish delectable flesh, the figures are headless and without arms and legs, but just outlines of buttocks, torsos, and breasts. The line itself is purposeful as it is playful, at places it reveals the sensuous curvature of the figure; sometimes the nubile figure of a maiden and sometimes the full figure of the mother (but both equally desirable yet nurturing) at other times because of the negative

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space, it is almost an unrecognizable shape. Tangentially, it is also necessary to understand his lines, which are executed through a water-jet cutting steel. Theses delicate yet lazer sharp lines are as spontaneous and necessary, as they are thoughtful and descriptive; are much closer to classical Indian sculpture than it first seems. In Indian classical tradition too, the relationship between the medium and line was similar, the dense difficult to work with medium of stone required a delicately precise yet playful line, creating a unique rhythmic effect.

There are several points which the artist makes; first, by presenting us with identity-less torsos, he teases us with the outline, the possibility of a sex-object. This forces us to flesh out the empty figures in our imagination; thereby he confronts us with our own perversions: that it is our head, that makes sex-objects out of real-life human beings. The body itself, thin or full figured is full of possibilities of being nurtured and nurturing, desired and desiring or neither of the above. Secondly by relocating the seeing of the figure not on the work of art but in our heads he underscores the fact that the experience of all sensuality is psychological and the experience of the psyche itself is a property of pure consciousness embedded in matter. Finally, the figures themselves are free and spontaneous; Mistry consciously refrains from defining femininity through its victim-hood. The 'Battered woman syndrome' seen in post 1970's Contemporary art, can often reinforce notions of victimhood; and also it works with a by and large, stereotypical understanding of violence and persecution, these limits of representation have to be

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recognised because more often than not the depicting artists do not have personal experience of violent persecution. This recognition can either involve a respectful distance or a deeper emphatic involvement; however the female still then remains a victim needing to be rescued. Mistry sidesteps these problems; his figures are self-sufficient but not isolated. They can be mothers, lovers, etc but they aren't limited by it, they are naked, but they are not nude.

At close I would like to make one point about the artist, Dhruva Mistry, and his place and role in the history of art practice in Baroda.

He finished his post-graduation from the Faculty of Fine Arts MSU, at the time when the Baroda Narrative movement was a force to be reckoned with in the Indian art scenario. Indeed, the central concern for this movement was the invention of an 'authentic' Indian style of Modern art; the artists of this movement did so by revisiting Mughal minature idioms and focussing their depictions on the local, particular and kitsch; delving into the architecture and the mundane lives of the people of Baroda. However Mistry marks a significant departure from this approach, so much so, that one wonders that perhaps

he doesn't feel this anxiety to invent an

'authentic' Indian tradition at all; an anxiety, which had evidently overwhelmed the senior artists of his period. Rather, disdainful of parochial approaches to craft out regional and national identities, no matter how apparently syncretic; he takes a very self-consciously Internationalist approach. Armed with a mastery of the Modern idiom, he re-visits classical traditions and mythologies from across the globe, grounding himself in the traditions of Greece, Egypt,

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Assyria, Babylonia, India, apart from the 2000 year old history of European Art. If the Baroda narrative was grounded in the local, Mistry grounded himself in the Archetypical. To illustrate the break between Mistry and the Baroda Narrative artists, the only prior instance that comes to mind is the rift between Abanindranath Tagore on one hand and Gaganindranath and Rabindranath Tagore on the other. While Abanindranath's quest for Indian identity was concerned with what was finally depicted on the painted surface and how, Gaganindranath and particularly Rabindranath were very critical of nationalism and forming identities on such parochial lines; rather one could say that if anything, it was their mode of feeling, thinking and expressing that was deeply influenced by traditional thought, being grounded in it but not limited by it allowed them to assimilate ideas of Western Modernity, but rather than becoming imitators or opposers, they could genuinely develop an Internationalist perspective that made them genuine and leading contributors to Modernism.

It is this move, beyond the surface and towards the essence, I would argue that makes Mistry much more closer to a deep understanding and application of 'Indian' philosophy and thought.

Kaustubh Das Dehlvi

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Something Else - Set N 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

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Something Else - Set O 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

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Something Else - Set Q 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Something Else - Set S 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Something Else - Set T 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Something Else - Set U 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Something Else - Set X 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Something Else - Set Y 1 to 9 Pieces 2010-2014 1mm Stainless Steel, Epoxy Paints 12.5 x 16.3 Inches each Unique

Individual Works

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Dhruva Mistry 1957

Dhruva Mistry was born in Kanjari (Central Gujarat), India

1974-81

M A Sculpture, Faculty of Fine Arts, the M.S. University of Baroda

1981-83

M A Sculpture, Royal College of Art, London on the British Council Scholarship

1984-85

Artist in Residence in association with the Arts Council of Britain at Kettle's Yard Gallery with Fellowship at Churchill College, University of Cambridge

1990

Represented Britain at the Third Rodin Grand Prize Exhibition, Japan (Award)

1991

Elected Royal Academician, Royal Academy of Arts, London Jack Goldhill Award

1992

Commissioned Sculptor of the Victoria Square by the City Council of Birmingham The Civic Trust, Woodhouse and the Renaissance Awards for Victoria Square

1993

Elected Fellow of the Royal Society of British Sculptors, London

1994

Selected as Asian Artist Today- Fukuoka Annual VII Exhibition, organized by the Asia Art Museum, Fukuoka, Japan Award for the Design of Humanities Prize Medal, London

1995

Design and President's Award and The Landscape Institute and Marsh Fountain of the Year Award for Victoria Square, Birmingham

1997

Returned to resume work in Vadodara

1999-02

Appointed Professor, Head of Sculpture & Dean of the Faculty of Fine Arts at the M. S. University of Baroda and resigned for the varsity's failure to implement the minimum qualification for teachers

2001

Awarded Honorary CBE by the Queen Elizabeth, London

2006

Award of Excellence by Gujarat Gaurav Samiti, Vadodara

2007

Awarded Honorary Doctor of the Birmingham City University, Birmingham, UK

2009

Pride of Vadodara, Felicitation of top 20 by Divya Bhaskar News, Vadodara

2014

Triveni Award and Felicitation, Vadodara

Selected Solo 1981

Dhruva Mistry, Selected Work: 1978-1981, Art Heritage, New Delhi and tour Jehangir Art Gallery, Mumbai

1983

Dhruva Mistry, Work 1978-1981, Contemporary Art Gallery, Ahmedabad

1985-86

Dhruva Mistry, Sculpture and Drawings, Kettle's Yard Gallery,

University of Cambridge and tour Cartwright Hall, Bradford, Arnolfini Gallery, Bristol, Mostyn Art Gallery Llandudno and Walker Art Gallery, Liverpool 1986-87

Dhruva Mistry, Selected works 1983-1986, Artsite Gallery, Bath

1987

Dhruva Mistry, Nigel Greenwood Gallery, London

1988-89

Dhruva Mistry, Cross-Sections, Sculpture and Drawings 1982-88, Collins Gallery, University of Strathclyde, Glasgow and tour to Cleveland Gallery, Middlesborough and Laing Art Gallery, Newcastle-Upon-Tyne

1990

Dhruva Mistry, Bronzes 1985-1990, Nigel Greenwood Gallery, London

1994

Dhruva Mistry, Asian Artist Today: Fukuoka Annual VII, Asian Art Museum, Fukuoka, Japan

1995

Dhruva Mistry, Work1990-1995, Royal Academy, Friends Room, London

1996

Dhruva Mistry, Recent Sculpture, Yorkshire Sculpture Park, West Bretton Unmasked, 1996, Meghraj Gallery, London

1998

Dhruva Mistry, Thoughts about Things: Leaves from Ire, Nazar Gallery, Vadodara and tour in 2000, Limerick City Gallery of Art, Ireland

1999

Dhruva Mistry, Prints 1988-1998, Gallery Espace, New Delhi

2000

Dhruva Mistry, Thoughts about Things: Leaves from Ire, Limerick City Gallery of Art, Ireland

2001

Dhruva Mistry, Work 1997-2001, Sakshi Gallery, Mumbai and tour Queen's Gallery, The British Council, New Delhi

2007

Dhruva Mistry, Steel, Stainless Still, New Work 2004-2006, Coimbatore Palace, Bodhi Art, New Delhi Dhruva Mistry, Ink Jet, canvas & Sculpture, Art Pilgrim, New Delhi Table Pieces 2003-2004, Sakshi Gallery, Mumbai and tour Jehangir Art Gallery, Mumbai and Lalit Kala Gallery, Rabindra Bhavan, New Delhi

2010

Dhruva Mistry, Recent Work, Hatheesing Centre, Ahmedabad

2011

Dhruva Mistry, Bronzes 1987-1990, Grosvenor Vadehra, London

2014

Dhruva Mistry, Something Else 2010-2014, Sakshi Gallery, Mumbai

Selected Group Shows 1979

Silver Jubilee Exhibition of Lalit Kala Akademi, New Delhi and Madras National Exhibition of Art, Lalit Kala Akademi, New Delhi

1982

Fifth Triennale India, New Delhi

Contemporary Indian Art, Royal Academy of Arts, London 1983

Portland Clifftop Sculpture Park, PortlandPeter Moore's Project 7, Walker Art Gallery, Liverpool and tour to Dublin

1984

Douglas Hyde Gallery, Dublin Festival Sculpture, International Garden Festival, Liverpool

1985

A Journey Through Contemporary Art, Hayward Gallery, London Proud and Prejudiced, Twinning Gallery, New York

1986

Sculpture at Stoke, National Garden Festival, Stoke on Trent 14th Biennale lnternazionale del Bronzetto e Piccola Scultura, Padua

1987

Works for Shelves: A System of Support, Kettle's Yard Gallery, Cambridge The Self Portrait, A Contemporary View, Artsite Gallery, Bath

1988

Summer Exhibition, Royal Academy, London Images of Paradise, Terrace Gallery, Harwood House, Yorkshire

1990

Menagerie, Glasgow Print Studio, Glasgow Third Rodin Grand Prize Exhibition, Utsukushi-Ga-Hara Open Air Museum, Japan

1991

Coming to Hand, Kibble Palace, Glasgow Recent Acquisitions: Laing Art Gallery, Mayor Gallery, London

1992

Drawing from the Imagination, Morley Gallery, London Millfield British 20th Century Sculpture Exhibition, Somerset

1993

Recent British Sculpture, Arts Council Collection, Derby Museum and Art Gallery and Tour Contemporary Art Society Market, Smiths Galleries, London

1994

Figure and Fantasy, The Herbert Read Gallery, Canterbury Gwyl Geff Harlech Art Biennale, Gwynedd

1995

ART'95 the London Contemporary Art Fair, Business Design Center, London Indian Winter, Kapil Jariwala Gallery, London

1996

Mask'96, Royal Festival Hall, London Academical Heads, Royal Academy London

1997

New Generation of Asian Art, Yonago City Museum of Art, and tour to Prefectural Museum of Art, Miyakonojo City Museum of Art,

Japan Major Trends in Indian Art, Lalit Kala Akademi, New Delhi 1998

Inaugural Shows, Sakshi Gallery, Mumbai David McKee Gallery, New York Glasgow Print Studio, The British Council, New Delhi and tour in India Sculpture-Dance, International Symposium, ABC Art Gallery, Varanasi

1999

Sculpture at Goodwood, Goodwood Drawing and Models, Hertogenbosch, Noorbrabants Museum, Holland

2000

Embarkations, The Millennium Show, Sakshi Gallery, Mumbai Bronze, an Exhibition of Contemporary British Sculpture, Holland Park, London

2001

10th Triennale-India, Lalit Kala Akademi, New Delhi RCA, Secret, Royal College of Art, London

2002

Thinking Big: 21st Century British Sculpture, Peggey Guggenheim Collection, Venice Metamorphing, Curated by Marina Warner and Sarah Bakewell, Science Museum, London

2003

Affordable Art Show 2003, The Kanoria Centre for Arts, Ahmedabad

2004

Indian Artists for France, Embassy of France, New Delhi Subtlety-Minimally, Curated by Marta Jakimovitz, Sakshi Gallery, Lalit Kala Akademi, New Delhi

2005

Modern Indian Paintings, Gosvenor Gallery(Fine Arts)Ltd, London Osian's Revisulising India, Lalit Kala Akademi, New Delhi

2006

The Art Mill at Berkley Square Gallery, London Nirmiti, a constructed object, Akar Prakar, Kolkata

2007

Correspondence of 3-D, Gallery Artlier, Fukuoka, Japan Venice: City of Dreams?, Sotheby's, London Polyphonies, curated by Dr. Alka Pande, Kala Gallery, Tirol, Austria Faces of Indian Art, Art Alive Gallery at India Habitat Centre, New Delhi

2008

Spectrum 2009, An Exhibition of Indian Modern and Contemporary Art curated by Dr. Saryu Doshi and Pheroza Godrej, Emirates Palace, Abu Dhabi Contemporary Sculpture in the Historic, Bad Homburg Kurpark and Castle Gardens Blickachsen, Germany by Galerie Scheffel

Indian Art, at the Swarovski 'Crystal World' Sculpture Park, Wattens, Austria 2010

Summer Exhibition, Royal Academy, London Le Cabinet de Curiosities de Madmoiselle Clouette, an exhibition of shelagh Cluett curated by Virginia Whiles, the Old College Library, Chelsea College of Art & Design, London

2011

Summer Exhibition, Royal Academy, London New Acquisitions, Summer Exhibition, Grosvenor Gallery, London Agape, curated by Jasmine Shah Varma, Hacienda Gallery, Mumbai

2012

RA NOW, Exhibition and Auction, Royal Academy, London Sculptors' Drawings and Works on Paper, Kings Place Gallery and Pangolin, London

2013

Remembering the present, Curated by V. Divakar at Site, Vadodara Maquettes from the Cass Sculpture Foundation, Pallant House Gallery, Chichester Gifted: From the Royal Academy to The Queen, The Queen's Gallery, Buckingham Palace, London

2014

A Personal Collection, Falmouth Art Gallery, Falmouth Mega-Metals Medley, Asia Gallery-b, Fukuoka Asian Art Museum, Fukuoka Summer Exhibition 2014, Royal Academy, London

Public Collections The Arts Council Britain Alliance Francaise, Embassy of France, New Delhi Birmingham Museum and Art Gallery, Birmingham The British Council, London The British Museum, London Birmingham City Council, Birmingham Contemporary Art Society, London Churchill College, Cambridge Cartwright Hall, Bradford City Art Gallery, Manchester Chelmsford Museum, Chelmsford City of Stoke-on-Trent

Department of Fine Arts, Punjab University, Chandigarh Delhi University, New Delhi Dallas Museum of Art, Dallas Delhi Development Authority, New Delhi Fukuoka Asian Art Museum, Japan Falmouth Art Gallery, Falmouth Glynn Vivien Art Gallery, Swansea Government Museum and Art Gallery, Chandigarh Hunterian Art Gallery, Glasgow Harris Museum and Art Gallery, Preston The Royal Collection Trust, London The Hakone Open Air Museum, Japan Jigyo-Chuo-Koen Park, Fukuoka Lalit Kala Akademi, New Delhi Leicestershire Education Authority, Leicestershire Laing Art Gallery, Newcastle-upon-Tyne Milton Keynes Art Gallery, Milton Keynes Merseyside Development Corporation, Liverpool National Gallery of Modern Art, New Delhi National Museum of Wales, Cardiff Naka-dori, Marunochi, Tokyo The New British Library, London Oriana, P&O Cruises, UK Osian's Archive, New Delhi Peter Moore's Foundation, Liverpool Petronet LNG Limited, Dahej Pallant House Gallery, Chichester Roopankar Museum of Fine Art, Bhopal Royal College of Art, London

Southampton Art Gallery, Southampton Sculpture at Goodwood, Goodwood Tate Modern, London Tamano City Council, Uno, Japan Ulster Museum, Belfast Victoria & Albert Museum, London Walker Art Gallery, Liverpool West Zone Culture Centre, Udaipur Yorkshire Sculpture Park, West Bretton Public Commissions 1982

Mitchell Beazley Publishers, London

1983

Peter Moores Foundation, Liverpool

1984

Merseyside Development Corporation, Liverpool

1985

Churchill College, Cambridge

1987

Nitchiman Corporation, Japan

1988

Glasgow Garden Festival, Glasgow British Art Medal Society, London

1989

National Museum of Wales, Cardiff

1990

Hunterian Art Gallery, Glasgow

1992

Victoria Square, the City Council, Birmingham

1993

International Classical Music Awards, London and Quaglino's, London

2002

Tamano City Project, Uno, Japan

2004

LNG Petronet Limited, Dahej

2005

Delhi Development Authority, New Delhi for Delhi University

2014

Romulus construction, London

Selected Bibliography 1979

Silver Jubilee Shows of Sculpture, Lalit Kala Akademi, New Delhi Exhibition catalogue (Cover)

1980

Ratan Parimoo, New Sculpture from Baroda, Lalit Kala Contemporary 28, Lalit Kala Akademi, New Delhi

1981

Mala Marwah, Dhruva Mistry, Exhibition Catalogue, Annual edition, Art Heritage, New Delhi Attractive Sculpture, The Statesman, Jan 6, New Delhi

1982

Aman Nath, Bazaar Trends, India Today Jan 15, New Delhi Pearl Padmsee, A Nude show in 3-D, Mid Day, Feb 27, Bombay Jehanara and Muriel Wasi, Rejects Controversy, Patriot Magazine, April, New Delhi Catalogue, Contemporary Indian art at the Royal Academy, London (Festival of India) Studio International Vol 195, No 996, London

1983

Caroline Collier, In Search of Figurative Image, Sculpture at the Royal College of Art New English Sculpture axe Sud Art Actuel, Paris, ISSNO292-921 X Esther David, Silence in the Galleries, The Times of India, Feb 7, Ahmedabad Sarah Kent, Time Out, June 17-23, No 699, London William Feaver, And the Best of British art, Observer Magazine, Nov 13, London

1984

Dan Jackson, Sculptor from India carves out a Niche, Cambridge Evening News, Nov 30 Margaret Garlake, Dhruva Mistry, Adrian Wisniewski, Jean Masore, Gwen John, Art Monthly, No 91, London Caroline Collier, Dhruva Mistry in Cambridge, Studio International, No 1011, London Nigel Greenwood, A Journey through Contemporary Art with Nigel Greenwood, The Hayward Annual, The Arts Council of Britain

1985

Art Monthly, No 86, May, London (cover) Michael Spens, Much more than just so, Studio International, Vol 198, No 1009, London Mary Rose Beaumont, The Hayward Annual, Arts Review, June, London Dave Lee, Dhruva Mistry, Arts Review, October II, London Nena Dimitrijevic, Hayward Annual, Flash Art International, No 123

1986

Frances Morris, Dhruva Mistry Sculpture and Drawings, Arnolfini Review, Jan 17-Feb 22, Bristol Michael Phillipson, Dhruva Mistry at Arnolfini, Artscribe International, No 57, London The Male Nude, - A Modern View, Francoise de Loville and Edward Lucie Smith, Phaidon, Oxford William Packer, Beauty and the Beasts, Financial Times, Feb 4, London

1987

Clive Turnbull, East Meets West, The Sculptures of Dhruva Mistry, The Green Book, Vol 2, No 6, Bath Mary Rose Beaumont, Dhruva Mistry: Reliefs, Art News, Oct, London The Self Portrait, A Modern View, Edward Lucie Smith and Sean Kelly, Sarema Press Ltd, London Rupert Martin, Dhruva Mistry, Brochure, Artsite No 6, Artsite Gallery, Poster and Calendar, Bath

1988

Brooks Adams, Dhruva Mistry at Nigel Greenwood, Art in America, No 1, Jan, New York Rupert Martin, Dhruva Mistry at Nigel Greenwood, Flash Art International, No.138, Jan/Feb, New York Kirsty Milne, Artful Glasgow, new Society, April 29, London (cover) Shrabani Basu, Baroda Sculptor creates a blend of the Old and New, India Abroad, May 27, New York Clare Henry, The Mystery and Misinterpretation of Mistry, Glasgow Herald, Oct 14, Glasgow

1989

Patronage and Practice-Sculpture on Merseyside, Edited by Penelope Curtis, Tate Gallery, Liverpool, National Museums & Galleries on Merseyside Keith Bruce, Festival Star on Way to New Engagement, Glasgow Herald, Jan 17, Glasgow William Packer, Financial Times, Dec 30, London

1 9 90

Andrew Wilson, Modem Painters, Exhibitions, Vol 3, No 3, Autumn, London, p86-p88 David Cohen, Mistry, Gouk and Barclay, Galleries, Vol VIII, No 5, Oct, London Maggie Jamieson, Dhruva Mistry, Reviews, City Limits, Nov 18, London Sarah Kent, Dhruva Mistry, Time Out, Nov 7-14, London David Lillington, Dhruva Mistry, Arts Review, Vol XLII, No 22, Nov, London

1991

Art News, Spring, Wales (cover) British Contemporary Art 1910-1990, Herbert Press Ltd, London, pl 42 ISBN 1-871569-39-T Anthony O'Hear, Figurative Sculpture After Henry Moore, Modern Painters, Vol 4, No 2, Summer, London, p26 James Delingpole, Indian is youngest RA since Turner, The Daily Telegraph, June 3, London

1992

BBC Music Magazine, The International Classical Music Awards, Oct, London Patrick O'Flynn, Praise as The River flows in to the City, Birmingham Post, Oct 29, Birmingham Jo Barker, Bathing Beauty! Birmingham Voice, Oct 25, Birmingham William Feaver, Where Bigger means Better, The Observer, Oct 29, London

1993

Andrew Lambirth, In Conversation with the Artist, The Artist's and Illustrator's Magazine, Issue 77, February, London, pl 7-19 Richard Cork, All Square, Past and Present, The Times, May 10, London Sister Wendy's Odyssey, A Journey of Artistic Discovery, Sister Wendy Beckett, BBC Books, London, p20

1994

David Cohen, Out of India, Hindu Spirituality in Recent British Sculpture, Sculpture Magazine, Jan/Feb, New York (cover) p26-27 Dhruva Mistry, Espianade, No 78, Fukuoka Art Museum, Japan Race, Sex and Gender in Contemporary Art, Edward Lucie Smith, Art Books International, London, p82-83 N P Krishna Kumar, Universal, yet very Indian, MĂŠtier, Indian Express, July 6, Bombay

1995

Jonathan Berg, Positively Birmingham, Birmingham Picture Library, Birmingham, pl,2,3,7 & 11, ISBN 0 9523179 0 7 (cover) Nicholas Schoon, Fountain showered with praise, The Independent, Nov 10, London

1996

The RA Magazine, The Royal Academy, No 50, Spring, London (Golden Jubilee Issue, Cover) Dhruva Mistry, Pick of the Week, The Independent, Oct 1, London David Cohen, Hegel would have approved, The Independent, Section two, Oct 4, London Bugged by his own bug, UK Special, India Today, Oct 31, London

1997

Dhruva Mistry, The Medal, No 31, Autumn, London, pl 40 (cover) New Generation of Asian Art, Shows Catalogue, Text by Masahiro Ushiroshoji, Published by The Japan Associaton of Art Museums, Japan Major Trends in Indian Art, Curated by Rm Palaniappan, Lalit Kala Akademi, New Delhi, pl 62 The Sunil Sethi Column, The Express Magazine, March 30, New Delhi

1998

Balraj Khanna and Aziz Kurtha, Art of Modern India, Thames and Hudson, London, p1, 25, 38, 45, 125, 126, 127, 135, ISBN 0- 50023755-7 British Contemporary Sculpture 97-98, text by Ann Eliott, Published by Sculpture at Goodwood, West Sussex, p38, ISBN 0 9525233 3 7 Esther David, prodigal son returns, Table for Two, the Times of India, Dec 5, Ahmedabad

1999

The Fukuoka Asian Art Museum's Collection, introduced by Ushiroshoji Masahiro, Fukuoka, Japan, Published by Bijutsu-Shuppen-Sha, ltd, Asian Art ISBN 4 568-201608 C 3070, inside cover & p63 Madhu Jain, Cutting Edge, The Arts, India Today, March 29, New Delhi, p80-81 Vinod Bhardwaj, Dakshata aur darshanik jignasa, Jansatta, March 13, New Delhi

2000

Bronze, Contemporary British Sculpture Holland Park, a Millennium Shows, compiled by Ann Elliott and essay by Nobert Lynton and Louise Vaughan, Published

by Royal Borough of Kensington And Chelsea Libraries and Art Service Central Library, London, p18,100-104 Twentieth-Century Indian sculpture, the last two decades, edited by Shivaji K Panikkar, Marg Publications, vol52, no1, Mumbai, p10,12,17,28,29,35,41,57,144, ISBN 81-85026-49-1 Queen Elizabeth honours sculptor Dhruva Mistry, The Indian Express, Dec 31, Mumbai, P9

2001

Sajid Sheikh, The mystery behind Mistry, The Times of India, Backbeat, Jan 6, Ahmedabad Anahite Contractor, The Times of India, Visio, Castles of air, March 6, Mumbai Uday Mahurkar, From Another World, India Today International, UK Special Section, London, Jan 15, p24d & 24c Anshul Avijit, Artless Artistry, India Today, March 5, New Delhi Abhay Sardesai, Blurring the Line of Control, Art India, Review, Vol 6, issue 2, Mumbai, p52

2002

Ella Dutta, Signals, Symbols of New Art Trends, Lalit Kala Contemporary, Lalit Kala Akademi, January, Issue 45, New Delhi, p25 Thinking big, concepts for twenty-first century british sculpture, Published by Sculpture at Goodwood, p49-50 Metamorphing, transformation in science, art and mythology, introduced by Marina

Warner and Sarah Bakewell, Science Museum, 4th Oct 2002-16th Feb 2003, London 2003

Liz Else, Going with the flow, New Scientist, 4 Jan, London Straight Answers by the Artist, the Vadodara Times of India,19 Aug, Vadodara

2004

Modern British Art at Pallant House Gallery, Edited by Esme West, Scala Publishers, Chichester, p1, ISBN 1-85759-366-9 Dr. Alka Pande, The Age of Shifting Demographies, East West Encounter, New Delhi

2005

Saam Chaturvedi, Turn table, Art Reviews, TimeOut Mumbai, Jan 14-27, Vol 1, Mumbai, p40 Marta Jacimowicz, Intimacies: Monumental and Miniature, Review, Art India, volume XI, issue III, Mumbai, p96-97, ISSN 0972-2947 Carmen Garcia-Ormaechea, A Look at the History of Contemporary Indian Art, Perspectives,- arco, contemporary art, Autumn 2005, Number 37, Madrid, p8

2006

Contemporary Indian Sculpture, Ajibi News, Fukuoka Asian Art Museum News, Vol23, January, Fukuoka, p2 Ella Dutta, Body of Work, Review, Art India, volume XI, issue III, Mumbai, p96, ISSN 0972-2947 Birmingham Univ honorary doctorate for city sculptor, Indian Express, Newsline, Sept 6, Vadodara

2007

S Kalidas, Steeled Delicacy, your week, Arts & entertainment, India Today, 12 February, New Delhi, p83 A Marriage of Ancient and Pop, Uma Prakash, World Sculpture News, Volume 13, number 1, Winter, Hong Kong, p32-37 Introduced by Arnab Chakladar Building Materials: The Sculpture of Dhruva MistryWeb retrospective exhibition, Another Subcontinent, South Asian Society and Culture, University of Colorado, Boulder, 2 June-3 July 2007 Contemporary Sculpture in the Historic, Bad Homburg Kurpark and Castle Gardens Edition Scheffel, Text by Roland Koch, Blickachsen 6, Germany by Galerie Scheffel, p112-115

2008

Simon Martin, Dhruva Mistry: Making Connections, London Magazine, Feature, Oct/Nov, Anglo- Indian Issue, London, P19-24 Dr. Shivaji Pannikar, Modern Indian Sculpture, Art and Visual Culture In India 1857-2007, Edited by Gayatri Sinha, Modern Indian Sculpture, Mumbai, p183

Alain Monvoisin, Dictionaire International de la Sculpture Modern & Contemporaine, Editions Du Regard, Paris, p369-370 2009

Expert View by the Artist, Times City, The Times of India, Jan 28, Ahmedabad, p2

2010

Return of the River, BBC News, Birmingham Madhu Jain, Sensual Abstractions, the timeless sculptures of dhruva mistry, p64-65 and Cambridge Sculpture Trails 3, West Cambridge, leaflet published by cambridge sculpture trails co uk

2011

Ayesha Singh, The Dialectic of A Constant Sculptor, Art & Culture, The Sunday standard Magazine, 15 May. New delhi, p10 Le Cabinet de Curiosities de Madmoiselle Clouette, Written and curated by Virginia Whiles, Published by the Selagh Cluett Trust, ISBN978-0-9567307-0-1 Michael Petry, The art of not making, the new artist/artisan relationship, Thames & Hudson, London, p88, ISBN 978-0-500-23882-0

2012

Sculptor's Drawings and Works on Paper, Introduced by Frances Carey, Pangolin London and Kings Place Gallery, p159 RA NOW, An exhibition of Works by Royal Academicians from Anish Kapoor to Zaha Hadid, The exhibition and auction catalogue, Royal Academy of Arts, London, p186-187, ISBN 978-1-907533-56-3

2013

V. Divakar, Interview with Dhruva Mistry, The Baroda Pamphlet, Vadodara, Issue 3, January-February, p7-8, Gifted, from the Royal Academy to the Queen, Royal Collection Trust, London, p166-167, ISBN 978-1-909741-06-5

2014

Birmingham's Floozie in the Jacuzzi set to make a splash once more, Birmingham Mail, April, 27, Birmingham FAAM News!, Ajibi News Vol. 56, Fukuoka Asian Art Museum, May, 2, p4, Fukuoka Osian's 2nd Osianama Series, 12 July 2014, Mumbai, p185

Further Reading 1981

Dhruva Mistry, Art Heritage, Annual Catalogue, New Delhi Selected Works 1976-1980, Introduction by Mala Marwah, Annual Exhibitions' Catalogue published by Art Heritage, New Delhi

1985

Dhruva Mistry, Sculpture and Drawings, Kettle's Yard Gallery, University of Cambridge Catalogue of Dhruva Mistry, Sculpture and Drawings, selected works 1982-1985, introduced by William Feaver and essay by Sheena Wagstaff, Kettle's Yard Gallery, University of Cambridge, ISBN 0 907074 23, 32 pages

1986-87

Dhruva Mistry, Artsite Gallery, Bath Brochure, selected works 1983-1986, introduced by Rupert Martin, published by Artsite Gallery, Bath, ISBN 0 948471 01 8

1987

Dhruva Mistry, Nigel Greenwood Gallery, London Exhibition of painted and part gilt Plaster Reliefs from 1986-87

1988-89

Dhruva Mistry, Cross-Sections, Sculpture and Drawings 1982-88 , Collins Gallery, University of Strathclyde, Glasgow Catalogue of Dhruva Mistry, Cross-Sections, Sculpture and Drawings 1982-88, introduced by Tessa Jackson and essay by Paul Moorehouse, 24 pages

1990

Dhruva Mistry, Bronzes 1985-1990 , Nigel Greenwood Gallery, London-Catalogue of Dhruva Mistry, Bronzes 1985-1990, unique and limited editions, introduced by Andrew Wilson, published by Nigel Greenwood Gallery, London ISBN No. 0 9503373 4 X, 68 pages

1994

Dhruva Mistry, Asian Artist Today: Fukuoka Annual VII, Asian Art Museum, Fukuoka, Japan Catalogue of Dhruva Mistry, Asian Artist Today: Fukuoka Annual VII, Selected work 1982- 1991, introduced by Ushiroshoji Masahiro and Essay by Lynne Green, 48 pages

1995

Dhruva Mistry, Work 1990-1995, Royal Academy, Friends Room in Association with Anthony Wilkinson Fine Art, London Catalogue of Dhruva Mistry, Work 1990-1995, Bad infinite, Delight of the Reason, Light, passion and Darkness, Gilt Plaster Reliefs 1993-95, introduced by David Cohen, published by Anthony Wilkinson Fine Art, London, ISBN No: 09526711 0 7, 34 pages

1996

Dhruva Mistry, Recent Sculpture, Yorkshire Sculpture Park, West Bretton Brochure of selected Bronzes 1992-95, introduced by Clare Lilley Dhruva Mistry, Unmasked, 1996, Meghraj Gallery, London Brochure of 36 Wooden relief assemblages of 1996, introduced by Lynne Green

1998

Dhruva Mistry, Thoughts about Things: Leaves from Ire, Nazar Gallery, Vadodara Dhruva Mistry, Prints 1988-1998, Gallery Espace, New Delhi Catalogue of Etchings Drypoints introduced by Pramod Ray and Leaves from Ire, Xerographic prints, 16 pages

2001

Dhruva Mistry, Work 1997-2001, Sakshi Gallery, Mumbai Catalogue of ALoC: the Object of 1997-01, Stainless Steel works, A series of 13 small, 3 medium and 2 large constructed of stainless steel bars and sheet metal, 24pages

2005

Dhruva Mistry, Table Pieces 2003-2004, Sakshi Gallery, Mumbai Catalogue of Dhruva Mistry, Table Pieces 2003-2004, 25 unique direct wax bronzes with selected pieces from Dialectal Images and the set of 7 Delight of the Reason bronzes of 1990-1992 and Looking Around 1-4, 1996. Including Large Fiberglass works of 2003-04 and The Object and True (After Uno II, 2003), 68 pages

2007

Dhruva Mistry, Steel, Stainless Still, New Work 2004-2006, Coimbatore Palace, Bodhi Art, New Delhi ISBN 978-81-904378-4-7 Catalogue of Relief and Round laser cut, welded, assembled or painted Stainless Steel works, 58 pages Dhruva Mistry, Ink Jet, canvas & Sculpture, Art Pilgrim, New Delhi Catalogue of Dhruva Mistry, Ink Jet, canvas & Sculpture, selected works from 2002-2007, Introduced by Sharmila Sagara with Transcript of a Chance meeting with Picasso by the Artist, 80 pages

2008

Dhruva Mistry, Prisms 366째: Sounds & Echoes, 1997-2007, Meru, Vadodara Catalogue of Text-Blocks by the Artist, Ink Jet Prints, 24 pages Dhruva Mistry, Artist in Focus, Contemporary Works: India 2008: Harmony Show, Harmony Art Foundation, Mumbai Catalogue with an essay, A Persistent Heroism, introduced by Gayatri Sinha with selected works 1998-2007, including etchings, Paintings on canvas, digital prints on paper, Canvas and flex, bronzes Stainless Steel reliefs and round work, p7- 43 in the main volume, with a Folio of six works by the artist.

2010

Dhruva Mistry, Recent Work, Introduced by Berenice Shreiner, Exhibition Folder, Hatheesing Centre, Ahmedabad

2011

Dhruva Mistry, Bronzes 1987-1990, text by Conor Macklin, Grosvenor Vadehra, Published by Grosvenor Gallery, London, 56 pages

2014

Everyday Exotic Catalogue, PDF, Written and compiled by Tania Sen, Society of International Printmakers and Artists, New York

Display Shot

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