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Trupti Patel
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Trupti Patel’s body of work has always focused on the human figure and the relationship it shares with its environment. More particularly, the female form and the varying roles of women, both within their families and in society at large, have been a reccuring theme in the artist’s works.
Like her subjects, Patel’s work is perceptive and sensual. Small contrasting textures, twists, burn marks and abrasions remind the viewer that not...
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Trupti Patel’s body of work has always focused on the human figure and the relationship it shares with its environment. More particularly, the female form and the varying roles of women, both within their families and in society at large, have been a reccuring theme in the artist’s works.
Like her subjects, Patel’s work is perceptive and sensual. Small contrasting textures, twists, burn marks and abrasions remind the viewer that not all is calm in the realm of these beings, and that cruelty, pain and hurt are as persistent in the worlds of her subjects as satisfaction and love.
Although she has specialized in sculpture, Patel does not limit her work to any single genre. Sculptor, ceramist, printmaker, and environmentalist, the artist dynamically defies the constraints of definition. Nevertheless, there is a commonality in her creative expressions, in that they all combine her own conscientiousness with the evocativeness of human emotion. Human nature continues to be the focus of all her creative output.
Trupti Patel was born in Nairobi in 1957. She received her Bachelor’s degree in sculpture from the Faculty of Fine Arts of M.S. University, Baroda in 1982, and her Master’s degree in ceramic sculpture from the Royal College of Art, London in 1985. She has participated in several group shows in India, UK, Japan, Yugoslavia, and USA, and has had solo shows in India and the UK. She was a recipient of the prestigious Charles Wallace India Trust Award in 1984, and received a British Council Scholarship in 1983.
Trupti Patel lives and works in Baroda.
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Born
1957
Nairobi, Kenya
Education
2004 Visiting Faculty in Sculpture, National Institute of Design, Ahmedabad
1983-85 Master of Arts (Ceramic Sculpture), Royal College of Art, London (British Council Scholarship)
1974-82 Master of Arts (Sculpture), Faculty of Fine Arts, Maharaja Sayajirao University of Baroda
Exhibitions
Selected Solo Exhibitions
2011 'Individual/ Society',...
Selected Solo Exhibitions
2011 'Individual/ Society', presented by Gallery Alternatives at Visual Arts Gallery, India Habitat Center, New Delhi
2004-05 Sakshi Gallery, Mumbai
2004 Queen's Gallery, The British Council, New Delhi
2001 Nazar Gallery, Baroda
1996 Chelmsford and Essex Museum, Chelmsford
1995 The Hannah Peschar Gallery, Ockley
1986 Student Showcase, Museum of Mankind, London
1983 Hatheesing Art Gallery, Ahmedabad
Selected Group Exhibitions
2009 'Conversations', The Loft, Mumbai
2008-09 'Whose Touch This Is, I Think I Know…', Gallery Threshold, New Delhi
2008 'Ashtanayika: Messengers of Love', The Stainless Gallery, New Delhi
2006 ‘Making of Divinity’, Sakshi Gallery, Mumbai
2006 ‘The Female Hero’, Lemon Grass Hopper Gallery, Ahmedabad
2005 ‘The Chair Project’, Sarjan Art Gallery, Baroda
2004 ‘Subtlety-Minimally’, Sakshi Gallery, Mumbai and Lalit Kala Akademi, New Delhi
2004 ‘Looking Back, Looking Forward’, Sarjan Art Gallery, Baroda
2003 ‘Affordable Art Show and Creation on Drapes Workshop’, Kanoria Centre for Arts, Ahmedabad
2003 ‘Highlights', Sakshi Gallery, Mumbai
2003 Transportable S2, Crossing-Knotting, Berlin Railway Station, Berlin
2002 ‘Creative Space’, Sakshi Gallery, Mumbai and Visual Arts Gallery, India Habitat Centre, New Delhi
2002 ‘Water’, organized by Delhi Blue Pottery at India Habitat Centre Gallery, New Delhi
2002 ‘Solitude’, Visual Arts Gallery, India Habitat Centre, New Delhi and tour to Mumbai
2002 ‘Voices Against Violence, Faculty of Fine Arts, Baroda
2002 ‘The Banyan City’, Nazar Gallery, Baroda
2001 Art core, Baroda
2000 ‘Beyond the Surface’, The Fine Art Company, Mumbai and Gallery Espace, New Delhi
1998 Drawing '98’, Nazar Gallery, Baroda
1997 Sculpture at Goodwood, Goodwood Eastern Edge, UK
1997 Laing Art Gallery, New Castle-upon-Tyne, UK
1996 ‘The British Are Coming’, Indigo Gallery, Boca Raton, Miami
1995-96 ‘Indian Winter’, Kapil Jariwala Gallery, London
1995 ‘The Raw and the Cooked’, The Shigaraki Ceramic Sculpture Park, Japan
1994 ‘The Raw and the Cooked’, Museum of Modern Art, Oxford and Taipei Fine Arts Museum, Taiwan and Glynn Vivian Art Gallery, Swansea, UK
1993 ‘The Raw and the Cooked’, The Barbican Art Gallery, London (a survey of New Work in Clay in Britain), organized by The Museum of Modern Art, Oxford
1993 ‘Art for Sale’, Whitley’s, London
1992 ‘London Art Fair’, Business Design Centre, London
1991 ‘Colors of the Earth’, The British Council Touring Exhibition, India
1989 Clay Bodies, Contemporary Applied Arts, London
1988 ‘Gujarati Indian Artists’, Leicestershire Museum and Art Gallery, Leicester, UK
1987 ‘Panorama of Indian Contemporary Sculpture’, Mumbai
1986 ‘Garden of Art’, Works Selected by Whitechapel Art Gallery, London for the National Garden Festival, Stoke-on-Trent
1986 Works in Clay, Nigel Greenwood Gallery, London
1985 Degree Show, Royal College of Art, London
Participations
2005 11th Triennale, Lalit Kala Akademi, New Delhi
1996 SOFA Miami Exposition, Second International Annual Exposition, Miami
1995 Guest Artists, International Potters Festival, Aberystwyth Art Center, Wales
1984 First World Triennale of Small Ceramics, Yugoslavia
1980-83 National Exhibition, Lalit Kala Akademi, New Delhi
1980-81 Gujarat Lalit Kala Academy, Ahmedabad
Honours and Awards
2001 Nazar Gallery, Vadodara
1996 Chelmsford and Essex Museum, Chelmsford
1995 The Hannah Peschar Gallery, Ockley
1995 Student Showcase, Museum of Mankind, London
1984 The Charles Wallace India Trust Award, London
1983 Hatheesing Art Gallery, Ahmedabad
1983 British Council Scholarship, New Delhi
1981 Gujarat Lalit Kala Academy, Ahmedabad
2001 Nazar Gallery, Vadodara
1996 Chelmsford and Essex Museum, Chelmsford
1995 The Hannah Peschar Gallery, Ockley
1995 Student Showcase, Museum of Mankind, London
1984 The Charles Wallace India Trust Award, London
1983 Hatheesing Art Gallery, Ahmedabad
1983 British Council Scholarship, New Delhi
1981 Gujarat Lalit Kala Academy, Ahmedabad
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It seems that the human form has constantly fascinated you. Can you tell us about the role it plays in your body of work?
I perceive the human form in the collective; the continual voluntary/involuntary sense perception of mass incidents and psyches around. The human is represented like a mark, notation, or alphabet on paper.
How much does geometry influence your work? Is there a special...
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It seems that the human form has constantly fascinated you. Can you tell us about the role it plays in your body of work?
I perceive the human form in the collective; the continual voluntary/involuntary sense perception of mass incidents and psyches around. The human is represented like a mark, notation, or alphabet on paper.
How much does geometry influence your work? Is there a special significance to the circular, triangular and spiral forms that you use?
Living in a population where atmospheres do get charged with violence and hysteria most unexpectedly; where human figures collectively become tornadoes, tsunamis and erupt in patterns of natural disasters of swirls, spirals, schisms…Patterns of behavior that you may identify in geometrical ways.
How did you come to use ‘burn marks’ in your works on paper? Can you tell us a little about this process?
In our culture, burning is a part of all significant human related rituals – holy fires, havans, solemn significance in last rites, pyres – revered on one hand, but shockingly used to commit horrific atrocities on the weak and in riots today, where as a society we are supposedly marching towards civility. I use incense sticks, and the act of using them to burn on paper, to mark the void where the human should be.
How significant is the play of light and shadow in your body of work, especially in your recent “White Heat” series? Are your ceramic works also shaped by this interplay, in terms of the shadows you want them to cast?
Shadows of light in a two dimensional work opens it up into a third dimension and adds substance to the volume. My sculptural forms break away from the static in shifting light and focus. Light allows an intangible element into play where subtle forms of say the terracotta heads of the 1970s to the large monochrome works of the 1980s and 1990s explore dimension of light as a live material.
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