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An exhibition with a Southern stamp

Dakshinayan, a new group show, is a coming together of artistic culture and socio-economic milieu from southern India. Chippa Sudhakar, Fawad Tamkanat, K. Srinivasa Chari, K. Laxma Goud, K. Nandini Goud, Sajid-bin-Amar, Ramesh Gorjala, Thota Vaikuntam, Surya Prakash, Anjani Reddy, B. Rohini Reddy, B. Srinivas Reddy, Bairu Raghuram and Chintala Jagdish are some of the artists featured in this show at New Delhi based Gallerie Nvya.

The exhibition presents recent works by over 30 artists all from the state of Andhra Pradesh. The show is aptly tilted 'Dakshinayan'. Other artists whose works feature in the show are D.L.N. Reddy, Gouri Vemula, Kavita Deuskar L.N.V. Srinivas, Laxman Aelay, Krishna Reddy and Sisir Sahana

Surya Prakash's impressionist foray projects the forest and nature at its best with the celebrative brisk strokes. Laxman Aelay's everyday images of abstracted domain in the art of the human form shuttle between solidity and solitary mood. Sajid-bin-Amar's characters fused into the landscape of the abstracted graphics of textured terrain speak about the power of the fractional and the intended intensity of gesture.

The aesthetic refinement is evident in the two collages of Sreekanth Kurva's 'Bulls'. The master draughtsman K. Laxma Goud's intaglio and brass plate gives us not merely the cloud chambers of reality but even the continuous conundrum of the refractive indices of the female form in the zoom in of a single visage.

The contoured characterization in the cohesive densely rich imagery of the couple in Thota Vaikuntham's work is striking. Playing with the power of realism in a wide angled street scene is artist Fawad Tamkanat for whom each being on the street has a suite of emotions, deepening the artist's enquiry into intensities, intuitions and a cache of stilled memories. K. Nandini Goud presents a simple structured still life of a vase with flowers.

Chippa Sudhakar's brilliant cohesion of saturated colors and differential divisions in a single space juxtaposes a charismatic cherry red automotive paint with big celebrative images that give is a glistening glimpse into a disturbingly illuminated by acrid yellow light. It's like a gorgeous neo abstraction that morphs into a vaguely perceptual image. Nearby, lovingly described and softly abstracted are the flowers of

On the other hand, K. Srinivasa Chari's egg tempera and gouache on paper manages to transform the influence into something uniquely his own, though, largely through an unexpected manipulation of materials and images. The feel of sculpture, painting, drawing, relief and virtual imagery all tumble together into one marvelously polymorphic species. Bairu Raghuram gives us the surreal edge with the blue rooster on the shoulder of a seductive woman lost in her own soliloquy.

The sculpted visages are this show's most intriguing and curious aspect. B. Srinivas Reddy's human head in fibre glass suggests a certain lurking in the illuminated void where flamboyant human dramas unfold. A large fiber glass head with flattened sculptural qualities are the two heads of B. Rohini Reddy.

Art critic Uma Nair, summing up the spirit of the show in an accompanying note mentions: 'Dakshinayan proves that artists in the state of Andhra Pradesh are delving into fertile territory in the history of painting as well as sculpture, which deserves deeper consideration for exhibitions. What's interesting, though, is how resonant the human subject is as a pivot for the emergence of new work. The hinge comes in, just before the images that bare some or no resemblance but evocatively state that the human figure is indeed are lodged in artistic consciousness.'

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