The preview of Vipta Kapadia”s newest exhibition at Jehangir Art Gallery aptly titled “Flittering Thoughts” was a grand affair with an exciting and eclectic mix of guests. Anandji of Kalyanji Anandji was among the early birds and stayed on for virtually an hour sipping coffee and absorbing the minutest particulars of the exquisite artwork.
Sameer Mondal sported a trendy floral printed shirt and was in excellent spirits appropriate by means of the evening. Madhusudan Kumar and Viveck Shettyy were engaged in a prolonged animated discussion. Dr. Prakash Kothari was accompanied by his wife. Nimisha and Charan Sharma along with Vinod Sharma have been part of the artist brigade that created their presence felt at this exclusive do. Shilpa Purii came straight soon after finishing an fascinating collection launch in the heart of South Mumbai. Mamta Raja was all praise for the artist and so was Sandhya Shetty.
With extraordinary mastery of colour and portraying peace in paintings, Artist Vipta Kapadia showcases her exhibition of paintings from 3rd December to 9th December, 11am to 7pm at Jehangir Art Gallery. Vipta has been painting for more than thirty years and her solo exhibition of these recent operates is aptly titled “Flittering Thoughts”. Capturing thoughts that flit via her consciousness by way of the day are the recent oil on canvas operates of Mumbai-based artist Vipta Kapadia. Some thoughts dart by in a fraction of a second, whilst other people linger extended, however all locate expression on her engaging abstract functions.
Vipta Kapadia’s long lasting engagement with painting in this solo show is an intricate portion of her journey from the distance travelled to the distances however to be travelled. Vipta intervenes her familiar idiom with her new enquiries on kind and content relationships. Seemingly equivalent engagements open up new enquiries every time, as she stops and thinks about her language even though continuing to exploit her recognized dictum. Right here, Vipta explores the nature of relationship amongst form and content with a newly established bond in between the nature of thoughts and its impact on human physique. As they appear and reappear leaving no identifiable substance, however straining chaos and identifying human subsistence as the core.
Vipta’s huge paintings (Untitled 1 and Untitled two) in their embodiment of the grey and the green hues suggest hazy appearances of- say, kaput human feelings and a torso, only to transcend these identifications and educe an expression of fulfillment. This transience from mutation of ‘form’ itself into a fluid content material wherein description of body, object, place or a point is pulverized, is enormously occupying sap that forms her language. The large Blue canvas that leaves an impression of eroded wall is again contained within herself, who as a benign and calm being interrogates the cities and locations with her meditative silence. Thoughts that appear and reappear, but observed with a distance, not reacted upon, resolve Vipta’s language as addressing a constant dictum that is non-violence.
Vipta’s small paintings all untitled emerge from her concentrate on absent power among human intellect and the acquired understanding. Volatile representations of sofas and books indicate a converse aesthetic in the dialogues among individuals who presumably have just left. Their inner chaos and tearing mental distances acquire the spaces of silent interrogation in Vipta’s paintings. Vipta is that distant observer of these dialogues who listens to the silence of the left behind objects- the sofas and the books. From inside chaos within and converse dialogues should emerge a pathway that leads 1 towards self-knowledge. In consequence, Vipta identifies the layered human struggle to comment upon ‘ignorance’ which the books propounding ‘pure knowledge’ may possibly not yield. Vipta’s constant dictum to address non-violence is in her silence towards the world that speeded up towards higher good results termed as competition.
Vipta’s other little operates wherein she lets the chaos wash out in between two shifting vertical planes suggests her mental configuration of the construction waste which is urban. In each possible way, and seemingly repetitive engagements by way of her silence Vipta addresses non-violence as a approach to observe the world.
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