November 17, 2010 § Leave a comment
Deviba Wala’s lucid abstractions, predominantly monochromatic, evoke an unambiguous rhetoric of strength in the process of accomplishing elegant but austere forms.Wala believes they are almost naïve in terms of transgressing the disquiets of mundane life. The entangled patterns and wavy lines running across the evasive space of the canvas appear as ‘mind-scapes’, suggesting deeper intuitive feelings of the artist. This challenges the inference of ‘specific structures’.
These works aim to scrutinise the intentional fallacy of perception. Biloria’s work explores the minimising of basic forms, which he considers otherwise complex and concealed. This is apparent in his spatial illusions dissolute in fine gradation of muted hues. His discernment about the ‘specific objects’ in his canvas appears not of his own but of a trained viewer as he strives hard to annihilate the presence/intentionality of the artist.
‘Doing more with less’, the pleasing vast negative spaces in his monochromatic paintings are deliberately stripped to its essentials, which imply a sort of illusion and the hierarchically disinterested ‘primary structures’ are often geometrized/systematized as the art work claims oblique hints and insinuates depth while viewed.
True to ‘Minimalism’, Arpit ingeniously employs less number of forms, if not ‘objects’, with refined lines and subtly rendered textures and even the untainted and unmixed hue becomes subservient to the form as it is utilized only for mere delineation of space rather than creating any sort of mood as such. His ‘reductivist’ ideas about sensuously executed compositions further can be traced in reiteration of shapes, which are however, vigilantly exploited working and reworking on all his ‘known’ perceptions and probing into the undisclosed/unrevealed dimensions and to end with, like an empiricist, the artist examines what exists and what does not.