Brain mapping 2, Acrylic on canvas, 3ft x 4ft x 3 triptych .
Monday, February 16, 2009
Sumana Chowdhury
Educational qualification 1991 - B.F.A. in Painting from Kala Bhavan, Santiniketan,Vishwabharati University.
1993 - M.F.A. in Painting from Kala Bhavan, Santiniketan, Vishwabharati
University.
1996-97 Studied under Mr Amal Ghosh, St. Martin’s College. London, U.K. under
Ministry Human Resource. Scholarship India.
Teaching-experiences
1993-95 Visiting lecturer at Birla Academy of Arts & Culture.
1999 - Visiting lecturer Arch. Dept. Bangalore University.
2004-05 Visiting lecturer Tech Art Collage of visual Arts ,.Jain collage,Bangalore.
Awards/ Scholarships
1996-97 Artist in Residence, Kent Institute of Art and Design,Canterbury, U.K.
2003 - ‘Kejriwal Young Artist Award’ given by Karnataka Chitrakala Parishat.Bangalore
1997-98 National scholarship,from ministry of human resource Govt of India.
Solo shows
1995 - Karnataka Chitrakala Parishat, Bangalore.
1999 - Time and space gallery B’lore(preview)
2006 - Sumukha gallery Bangalore
DUO SHOWS
1994 - With Paula Sengupta,Birla Academy Fine Arts, Calcutta.
1997 - With Tejendra sh Baoni,Herbert Read Gallery, KIAD Kent, U.K.
1999 - With Paula sengupta,"Images from west"Birla academy of Art & Culture
1999 - A.B.C. Gallery , Varanasi.
1999 - Show at Jamshedpur school of art ,
sponsored by Tata Steel.
2000 - With Sue carny,Karnataka Chitrakala Parishat, Bangalore
,sponsored by Microsoft co.
2001 - With Sue Carny,"Two women"British Council, Chennai.
2001 - With Sue Carny,"Two women"Gallery Sumukha, Bangalore
- With Sue Carny,"Two women" Kanataka chitrakala parishath,Bangalore.
Performance
2003 - Bus painting commissioned by state transport authority,B’lore.
2004 - with Shankar Mahadevan - jugalbandhi between Artist & Musician – for
Airtel, Bangalore Palace.
2004 - World social foram Mumbi,painted a local train for world peace.
2005 - Orkshop raising fund for Tsunami.,Opencircle Mumbi.
Group shows/Cherity &Curated shows
Has participated in several group shows, curated shows and charity shows
since 1991 in Calcutta, Bangalore, Hyderabad,Mumbai , Chennai.U.k and many other places.
1991 - All India exhibition Academi of fine arts,Kolkata
1991 - All India Exhibition ,Gadag,Karnataka
1991 - Kala mela Birla academi of fine arts,Kolkata
1992 - All India exhibition Birla Academi of fine arts,
1993 - State academi annual show Kolkata,
1994 - All India exhibition Karnataka chitrakala parishath B’lore
1994 - Rastriya kala mela,Bangalore,
1995 - Rastriya kala mela ,Kolkata,
1996 - Workshop on gesso painting,KAID Canterbury,UK
1997 - Summer show ,sunshine gallery,London Bridge,uk
2001 - ‘CUPA art ‘ cherity show,right lines gallery,Bangalore
2001 - FORD cherity show organized by Right lenes gallery ,Bangalore
2001 - Tsunami Fund raising show opganised by Sara Arakal gallery,Bangalore,
2002 - All india Work- shop at velly school, organized by lalit kala academy
2003 - Kejriwal young artist awardee show ,Bangalore,
2004 - World social Forum,mumbi,
2005 - Rekha Namana- Homage to Hebbar’,organaised by Samyajoti
2005 - Sumukha new space Opening gallery , Bangalore,
2005 - Group show in Hydrabad
2006 - Group show ,organized by sumukha, Hong Kong
2006 - Annual show Sara arekl gallery Bangalore,
2007 - Group show, Taj hotel,Kolkata,
2007 - Group show, Winsor manor hotel, Bangalore
2007 - Group show , Karnataka chitrakala parishath,Bangalore.
2007 - Annual show,SaraArekl gallery,Bangalore.
2007 - Point & line to plane 1V,Gallery beond,Mumbi.
2007- Group show at Kynkini art gallery,Bangalore,
2008- Birla academi ,kolkata,
2008- Tamarind art gallery,New york
2008 - Asian contemporary art fair Tamarindart gallery.
Collections
Tata Steel, Jamshedpur.
IIIT, Bangalore.
Samsung Co, Bangalore.
Hindustan Lever, Bangalore.
Rastriya Lalit Kala Kendra,Delhi,
Bhoruka Enterprises,
Biocon B'lore
H.KKejriwal collection,B'lore
Birla Academi Kolkata,
Eureka Springer,U.S.A,
William Cook asso,Kent.U.K
Many other private collections in India &Abroad.
ch2002.sumana@gmail.com
sumana_ch2002@yahoo.com
THE BEGINING OR END-1
Title of the work "The begining or end" Its acrylic on canvas,size 3ft x 4ft ,
A Journey Within
Over the past thirteen years the my determination to independently explore situations has shown my ways to communicate with my inner self. The changing face of eventualities in my life became a source of enquiry. They addressed issues of resistance to change and finally acceptance. my works by and large depict this personal world of composite experiences. The narrative portrayal questions the spatial element as found inside the human body, external landscape, in relationships, in geographical boundaries. Overall the definition of space finds predominant _expression wherein the struggle and search for freedom surfaces time and again.
Every phase of my work reveals an autobiographical unfolding of aspirations, loneliness, despair and changing moods of relationships. While my earliest works communicate my idealistic concern for sustaining the gifts of mother earth; watercolour landscapes (1994-95), my later works of carved textured elephants on wood (2002) stated my angst against exploitation of the animal in temples. The vulnerability of the human body and search for personal identity encompassed most of my later watercolour series, inner landscape (1996-97) where my questioned the incongruity of divisions of societal framework. During the same period I developed upon a representational book of visual memoirs that brought together rhythms of life using acrylic on gesso board; Untitled Journey (1997), and Travelling show (1999-2000). In the latter she teamed with Sue Carney to reveal the prevalent unrest in a woman’s mind whose presence is taken for granted. By using discarded material such as matchsticks, corrugated board, sheets, threads, rope and gunny sack the work emphasized a metaphorical dissent for insensitive action. I further pained to observe the misuse of technology that aids gender discrimination and mindless killing. I wonders if such development can be termed constructive at all.
In the process, my visual language retained certain elements that repeatedly addressed personal concerns; the red blob of colour that is constantly seen points to the eventuality of a blood clot in the brain. The enormity of personal loss is incomparable to the size of the clot. In my later works of mixed media on paper and canvas (2000, 2001, 2002) the prevailing imposition of vertical grids speaks of barriers, self imposed and otherwise. In contrast, the presence of the element of water attributes as a soothing balm to the mind and lyrical texturing acknowledges the healing presence of music In all we find a hope nurtured to undo and recreate a new world. The search continues for a free will and yet retains the nostalgia of security.
The present series are an extension of my previous work to an extent. They investigate the fascinating relationship between science and art in relation to the human body. While exploring the interconnectedness between the physical and emotional, the predominant imagery captures the movement of the inner textures of skin, the brain, cells and other subjects. Once again led by a strong urge to unravel the internal processes. In many ways this series is a breakthrough of sentiment. From being a child to being a mother myself, the maternal perception takes over while answering questions of creation and of circumstantial differences in human nature between the exploiter and a saint. ‘this process of seeking answers has affected the way I paint now. It has brought in new perspectives and opened up new vistas. Looking at life anew through a child's curious eye it feels as if I have become a child again. My childhood memories are very beautiful since we were brought up in natural surroundings close to a forest because of my father's job.
Taking pleasure in imaginative liberty Sumana draws from the unencumbered attitude of her child. What are distinctly visible are a larger canvas, unconstrained boldness of brush stroke and a vibrant palette that bursts with colours of joy. One notes a distinct disappearance of the predominant rigid, vertical grids and somber colours. The artist’s conscientious exploration of inner textures reveals her feel for tactile variance. Having worked with varied surface material such as paper, board, wood, glass and presently canvas she believes in exploring the intricacy of each. The lyrical simplicity of her presentation is symbolic of the artist's keenness to find an answer to the complex layering of life.
In this series the artist meets her inner child and perhaps completes a full circle. She seeks the spontaneous joys of simple pleasures while discovering the overwhelming supremacy of her journey within.
Every phase of my work reveals an autobiographical unfolding of aspirations, loneliness, despair and changing moods of relationships. While my earliest works communicate my idealistic concern for sustaining the gifts of mother earth; watercolour landscapes (1994-95), my later works of carved textured elephants on wood (2002) stated my angst against exploitation of the animal in temples. The vulnerability of the human body and search for personal identity encompassed most of my later watercolour series, inner landscape (1996-97) where my questioned the incongruity of divisions of societal framework. During the same period I developed upon a representational book of visual memoirs that brought together rhythms of life using acrylic on gesso board; Untitled Journey (1997), and Travelling show (1999-2000). In the latter she teamed with Sue Carney to reveal the prevalent unrest in a woman’s mind whose presence is taken for granted. By using discarded material such as matchsticks, corrugated board, sheets, threads, rope and gunny sack the work emphasized a metaphorical dissent for insensitive action. I further pained to observe the misuse of technology that aids gender discrimination and mindless killing. I wonders if such development can be termed constructive at all.
In the process, my visual language retained certain elements that repeatedly addressed personal concerns; the red blob of colour that is constantly seen points to the eventuality of a blood clot in the brain. The enormity of personal loss is incomparable to the size of the clot. In my later works of mixed media on paper and canvas (2000, 2001, 2002) the prevailing imposition of vertical grids speaks of barriers, self imposed and otherwise. In contrast, the presence of the element of water attributes as a soothing balm to the mind and lyrical texturing acknowledges the healing presence of music In all we find a hope nurtured to undo and recreate a new world. The search continues for a free will and yet retains the nostalgia of security.
The present series are an extension of my previous work to an extent. They investigate the fascinating relationship between science and art in relation to the human body. While exploring the interconnectedness between the physical and emotional, the predominant imagery captures the movement of the inner textures of skin, the brain, cells and other subjects. Once again led by a strong urge to unravel the internal processes. In many ways this series is a breakthrough of sentiment. From being a child to being a mother myself, the maternal perception takes over while answering questions of creation and of circumstantial differences in human nature between the exploiter and a saint. ‘this process of seeking answers has affected the way I paint now. It has brought in new perspectives and opened up new vistas. Looking at life anew through a child's curious eye it feels as if I have become a child again. My childhood memories are very beautiful since we were brought up in natural surroundings close to a forest because of my father's job.
Taking pleasure in imaginative liberty Sumana draws from the unencumbered attitude of her child. What are distinctly visible are a larger canvas, unconstrained boldness of brush stroke and a vibrant palette that bursts with colours of joy. One notes a distinct disappearance of the predominant rigid, vertical grids and somber colours. The artist’s conscientious exploration of inner textures reveals her feel for tactile variance. Having worked with varied surface material such as paper, board, wood, glass and presently canvas she believes in exploring the intricacy of each. The lyrical simplicity of her presentation is symbolic of the artist's keenness to find an answer to the complex layering of life.
In this series the artist meets her inner child and perhaps completes a full circle. She seeks the spontaneous joys of simple pleasures while discovering the overwhelming supremacy of her journey within.
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