Anju Dodiya: CHEMOULD PRESCOTT ROAD.
Watercolor and charcoal have been the vehicles for Dodiya's trenchant reflexivity for more than twenty years. An impassioned watercolorist who rejects the medium's relegation to the margins, she admits to being seduced by its process, its demand for concentration and precision, and its promise of refinement and elegance. And Dodiya, who lives and works in Mumbai, has the Indian modernist lineage behind her. From the early twentieth century, many Indian artists resisted the sway of oil painting as a colonial imposition, favoring water-based paints, which have a venerable pedigree in India going back to the ancient frescoes of the Ajanta caves. In Bengal, pioneers including Rabindranath Tagore, Benode Behari Mukherjee, and Nandalal Bose chose to work principally in watercolor, tempera, and ink, aligning themselves with not only the painters of Ajanta but also local vernacular artists as well as contemporaries in China and Japan, conferring a political weight on the choice of water-based colors that is partly responsible for keeping the practice surprisingly fresh and experimental in India.
Dodiya's allegories of the terrors and wonders of her calling draw on her long fascination with Japanese ukiyo-e prints for their thrilling combination of violence, eroticism, and beauty. She appropriates their scenery, costumes, and props for her own flamboyantly dramatic masquerades. But even if this is playacting--hyperbolic, idealistic, romantic, comic--it is also dead serious, a life-and-death battle with her creative dreams and demons.
|Printer friendly Cite/link Email Feedback|
|Author:||Bean, Susan S.|
|Date:||Feb 1, 2013|
|Previous Article:||Yung Ho Chang: ULLENS CENTER FOR CONTEMPORARY ART.|
|Next Article:||Daniel Medina: PERIFERICO CARACAS / ARTE CONTEMPORANEO.|