Flittering Thoughts” by Vipta Kapadia

With incredible 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 works is aptly titled”Flittering Thoughts”. Capturing thoughts that flit by means of 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, while other people linger extended, however all discover expression on her engaging abstract works.

Vipta Kapadia’s extended lasting engagement with painting in this solo show is an intricate part of her journey from the distance travelled to the distances yet to be traveled. Vipta intervenes her familiar idiom with her new enquiries on type and content relationships. Seemingly similar engagements open up new enquiries each time, as she stops and thinks about her language while continuing to exploit her recognized dictum. Right here, Vipta explores the nature of partnership amongst form and content material with a newly established bond between the nature of thoughts and its effect on human physique. As they appear and reappear leaving no identifiable substance, but straining chaos and identifying human subsistence as the core.

Vipta’s large 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, spot or a thing is pulverized, is enormously occupying sap that forms her language. The large Blue canvas that leaves an impression of eroded wall is again contained inside herself, who as a benign and calm being interrogates the cities and areas with her meditative silence. Thoughts that seem and reappear, yet observed with a distance, not reacted upon, resolve Vipta’s language as addressing a consistent dictum that is non-violence.

Vipta’s modest paintings all untitled emerge from her concentrate on absent energy between human intellect and the acquired expertise. Volatile representations of sofas and books indicate a converse aesthetic in the dialogues in between people 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 have to emerge a pathway that leads a single towards self-expertise. In consequence, Vipta identifies the layered human struggle to comment upon ‘ignorance’ which the books propounding ‘pure knowledge’ could not yield. Vipta’s consistent dictum to address non-violence is in her silence towards the planet that speeded up towards high achievement termed as competitors.

Vipta’s other small functions wherein she lets the chaos wash out among two shifting vertical planes suggests her mental configuration of the construction waste which is urban. In each and every possible way, and seemingly repetitive engagements through her silence Vipta addresses non-violence as a method to observe the world.
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