Read about: RE-BIRTH - The Art of K. Benitha Perciyal

RE-BIRTH
The Art of K. Benitha Perciyal

It is hard to believe that eight years have passed since I first met Benitha Perciyal at Lalit Kala Akademi in Chennai. She was an immediately impressive artist, able to articulate through her work and through her words her artistic message. This combination is actually rather rare. This exhibition at The Noble Sage charts the changes of Perciyal's work from 2004 to 2008, a seminal period in her career so far. The earliest piece from this first visit to Chennai is 'Nothing Else' (2004). As was often the case back then, her art had a rawness of approach, her self-portraits owning a dark edge and a self-exploitative element. In this work for example, one sees Perciyal use texture to convey the closeness of bone beneath her face's skin. The effect is eerie, as if we are undressing her face with our eyes, yet the portrait shows the artist peaceful.  

As Perciyal has explained in interview, she has always felt neglected. Making herself the subject matter of her work made and continues to make great sense. In her changing work she is constantly revising the meaning of self-portraiture, stretching its boundaries to include exploration of her physiology, her mental state, her personal growth, her soul and spirituality, her role in society and indeed her sense of what it is to be a woman. 

Perciyal has often used (loosely) loaded motifs such as 'the seed' and indeed this is a form that binds this exhibition. In 'Untitled' (2006) a pod of seeds is meticulously created within the central varnished silhouette of Perciyal herself. We see the seeds before we see her perhaps implying that we are literally our years of growth and change. Seeds also divide the portrait in 'Sketchbook Series' III (2006). Here used in a patterned manner, we start to see Perciyal's artistic attention to detail and decoration combined with her stylised and simplified silhouette form. We also see the artist's interest in organic materials and media. Her interest since 2006 has been to work as much as possible with naturally-born media (the colour created from soil, cardamom, saffron, ground leaves etc) on naturally-made materials such as handmade paper or other surfaces and fabrics she has collected on her numerous trips abroad and throughout India. In some ways the material individuality of these substances and materials appear to be the only way that the artist can articulate her own make-up and self. 

The subject of her body, on a molecular level, as a woman in particular, and also indeed physiologically in relation to the psyche, is considered and explored in many of the examples from 2007. In 'Diptych' (2007) Perciyal examines her internal space and relates it to a vessel. The structure of the skeleton is notably erroneous indicating something greater than the mere physicality of our bodies and hinted at in the soulful glow of the contents of the bottle in the counter image. In 'Endless Loop' (2007) her own female reproductive organs are described subtly, again relating imagery in form to seeds but also cells and DNA. The subtly of imagery is astonishingly effective. We cannot help but look inside the artist and invade her privacy. The title likewise suggests ideas like the circle of life, inevitability of motherhood  and indeed the certainty of maturity and death. 'Untitled' I (2007) again looks at her anatomy, reconfiguring her body, making herself stand out as different from everyone else. This is an evocation of selfhood and individuality.              

Perciyal's spiritual values and their effect on her body is also conveyed in some of her works from this year. One is drawn in particular to 'Without a Pattern' (2007) which by contrast is heavily patterned with her circular rice paper 'feathering'. Is this ironic title the artist pointing to religion and its in-built (unproven) ideas on fate and destiny? One notes the slightly pink nipples and of course the more pronounced halo. The work in this way relates itself to Christian images of the Virgin and other martyred female saints. One is faced with an image of the artist's own sacrifice, perhaps due to her profession in a predominantly male dominated South Indian art world.   

In 2008, the psychological aspect of some of Perciyal's work lessened as new softer themes emerged. She began to use the materiality of her natural mediums to bring a sensation of warmth and familiarity for the viewer. Colours and textures exuded a new welcoming aspect in their choice and execution that no doubt reflected the mental wellbeing of the young artist. A good example is 'Self-Portrait with Squirrel' (2008) from the 'Jerry' series of works. Jerry is her pet squirrel that she befriended in the Lalit Kala Akademi studio. Today she looks after Jerry and his growing family, like a mother, with kindness and love. It has awakened in her feelings she wasn't aware she had as well as given her a new understanding of those little sweet things of life that are so easily overlooked. In this work, the artist hides in the background, a fragile receding ghost, lending a shoulder to her pet represented by contrast in full colour. It is the artist surrendering to the biological urge to mother, to relinquish existence for the sake of one's baby.

In the most recent works in the exhibition, created during her London stay in 2008 and never displayed before at The Noble Sage, Perciyal continues to show her love of materials and newly found imagery. 'Untitled' (Leaf) (2008) and 'Untitled' (Bark with eye) (2008) both were inspired by a visit to Tate Modern. Rather than the art within the building, it was the trees outside that inspired both these works. Typical of the artist, it is in nature that she sees herself and her art rather than in the messages of other artists. 

In 'Untitled' (2008), Perciyal uses her classic rice paper 'feathering' effect along with acrylic paint and subtle drawing in pencil and brown conte. Both works have the bulbous conte shape, though in one the shape sprouts from a boat to produce a house. It suggests change: from nomadic freedom to stability and strength of place. In the partner piece, the Perciyal profile emerges from the bulb shape which in turn comes out of a vase like a bouquet. Again change and personal growth is the theme here. Seen together, these works are reassuring for the viewer; a diptych dedicated to the artist's new place in the world. Neglected no more.   

'Re-Birth: The Art of K. Benitha Perciyal' runs from the 10th June until the 6th July 2013. To view the exhibition or see artworks in person, contact the gallery on 07901944997 or by email on info@thenoblesage.com. If you would like to gather more information on any of these works or on the artist, click on this link. 

Read about S. Ravi Shankar's ‘Theradi Theru, Triplicane (Car Street)’ II (2011)

‘Theradi Theru, Triplicane (Car Street)’ II (2011) by S. Ravi Shankar

Pen and ink on paper
22 x 29 inches
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Looking at this wonderful pen and ink drawing by the once-etcher S. Ravi Shankar, we are truly transported. What at first glance looks like an image of an ancient Hindu ceremony out in the villages of India, is actually located visually and textually by the artist. First by the three floor buildings in the far background, confining the foreground action, no landscape to be seen, and secondly by the title ‘Theradi Theru’ meaning ‘Car Street’, a particular street in Triplicane a highly built up area of Chennai in Tamil Nadu. Rather than this being placed ambiguously in the past, ambiguous in location and content, Shankar actually gives us rather a lot of information. The street is called ‘Car Street’ because ‘car’ in Tamil translates as chariot and this street is known for Hindu chariot seen in the background. It is still known today for this feature and for this Hindu processional ceremony. We know this is a recent memory recorded on paper as into the arm of the enigmatic priest in the foreground, Shankar writes that this is a good friend of his. Indeed in other past works Shankar has chosen this friend turned Hindu priest as a main subject. I know from discussion with Shankar that this friend is of particular interest to the artist as he was a very different character and personality when he was young and today has changed into this very pious and transformed figure. We see Shankar’s interest in the duality that our lives can finally show, sometimes an unbelievable dichotomy. For me what is most interesting about this work is the drama that Shankar builds around this main character. There is a real sense that his friend is now a man of the people, a leader of faith, and more literally a directional force for the procession that day. Sound is provided by the drummer boy-priest to his side, other worshipping eyes stare forward from behind him whilst others look to the deities in the chariot in all their glory. It is of course the priest in the foreground who really captures our attention. His seeing eyes raised to the heavens, above us the viewer, the work is filled by his spirituality and the meaningfulness of his role. Do we sense the artist’s envy of his friend’s position? Can an artist ever lead like this?

RAVI SHANKAR: BACK TO HIS CHILDHOOD solo show opens Friday 20th April 2012, 6-8.30pm. To attend or find out more email info@thenoblesage.com                

 
For more works by S. Ravi Shankar, click here.          

Read about this work: 'Untitled' (2007) by T. Athiveerapandian

‘Untitled’ (2007) by T. Athiveerapandian

Acrylic on canvas

43 x 45 inches

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I wanted to jot down some of my thoughts in relation to this dramatic new canvas by T. Athiveerapandian that just entered the collection. I say it is new but it is a 2007 canvas that I acquired from a very good friend of mine who in turn bought them from some other dealers. It has enjoyed a great journey before arriving at The Noble Sage. I am so glad it is with me now as there is no better place for it to be appreciated and no audience more discerning than that of The Noble Sage to critique an Athiveerapandian canvas. This is our 43^rd canvas of my Chennai artist Athiveerapandian to grace our walls. That means that our audiences have literally seen more of the evolution of this painter than anyone on the planet! And what an artist to follow. From recognisable close-up images of flowers and petals and such in 2006 to this: what can only be described as the abstract opera of nature – powerful, rich and deftly orchestrated for a sublime effect. There are three wonderful 2012 canvases soon to be framed which show his development from 2007 but it has to be said that 2007 was a good year for Athiveerapandian. It was the biggest leap forward for his abstraction. With our regular patronage, the artist was able to free himself in his art from the hold of figuration and branch out into nearly pure colour with lessening relationship to its starting points in nature. We can still see the abstract renderings of foliage in green central in the canvas, and the top right of the canvas feels like a wave caught mid-ebb. Indeed, the red reminds me of the heat ofchennai and the yellow the hot sun. But this for all sense and purposes is an abstract canvas where the artist is revelling in his new expressive freedom. I wish you could see this every day like I do. It makes me wish I could paint abstracts, have this kind of mastery. The canvas must really look limitless to Athiveerapandian when it is empty of paint. It must be so silent to make it sing as he does. Jana Manuelpillai

For more works by T. Athiveerapandian, click here.          

Read about Manisha Raju's 'Pandit II' (2007)



 



Pandit II (2007) by Manisha Raju

Pastel on paper

17 x 12 inches

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It is in fact rare that I take pastel works into the gallery. In fact apart from Sri Lankan artist, Anoma, who is really a mixed media artist who utilises soft and hard pastels when appropriate, Manisha Raju was the first artist to work in this medium that I brought into the collection. There is no real reason why this medium has been passed over. Indeed the only work I have up on the wall by me is a pastel work. I think if anything I have been waiting for just the right artist that would add to the collection and have a mastery over this difficult medium. Manisha Raju’s stunning pastel paintings on paper were exactly that. She shows a soft, delicate technique that makes the most of the medium as well as the subject matter, adding an imaginary halo around the religious characters she chooses. Pandit II (2007) is s a lovely piece by all accounts. A simple head and shoulders profile portrait, Raju is able to mirror this holy man’s honourable and religious character in her idealisation of form. His skin is blemishless, silky smooth: no pastel mark is decipherable so the final image has the feeling of something so perfect it defies the creative power of an artist. It makes me think of Da Vinci and Botticelli in this way. The arch of the eyebrow, seemingly plucked and sculpted, echoes the curve of the closed eye, long and sublimely elegant like the beautiful chin. The nose points slightly upwards and the lips are full, red and purt. Even the ear, most awkward of facial attributes, is smoothed out to appear as perfectly proportioned as the swan neck below it. We know this is a ‘pandit’, a Hindu priest, not only from the title but by the shaved head and bob of hair at the back and the holy string across one shoulder. Perhaps there is a hint given also by the earring… or perhaps I am imagining it. The colour in his lips, the rouge of his cheeks, and the red ruby in his ear, all appears to resonate outward around his profile. His form is brought forward by Raju with darkened shading around the head, a reverse halo one might say. It is as if this priest is so good and pure that no circle of light is necessary. I wanted Raju in the collection as she took great advantage of the pastel medium to tell of the inner beauty of the soul and the external beauty that comes of the elevated, educated and religious mind. There was no one in the gallery’s collection that did this so eloquently. Jana Manuelpillai

To view more works by Manisha Raju in the collection, click: http://www.thenoblesage.com/page597.html