Kamayani Sharma

  • Prabhavathi Meppayil, d sixty three, 2017, gesso on wood, 36 x 36 x 1".
    picks February 01, 2017

    Prabhavathi Meppayil

    Prabhavathi Meppayil’s second solo exhibition in New Delhi reflects her curiosity about spatial logics and her interest in using intensive and vernacular processes. A descendant of goldsmiths, Meppayil uses the tools and techniques of the craft to trouble the boundary between artist and artisan. Her stark white gesso panels in d sixty one, d sixty, d fifty seven, d sixty two, d fifty six, and d fifty eight (all 2016) almost blend into the walls––the incisions and embedded wires are revealed only as one nears the works. The lines of the delicate metal contrast sharply with the thick mass of

  • View of “Regarding Embodiment,” 2016.
    picks November 21, 2016

    Naiza Khan and Manisha Parekh

    In “Regarding Embodiment,” Naiza Khan and Manisha Parekh bond over their shared preoccupation with the morphological. An exploration of shapes––biological, cartographic, and symbolic––is the dominant theme of the exhibition, which at first glance seems to be orchestrating a duet between very different materials.

    Belonging to a long tradition of South Asian works that render the geographic through representation (Sudhir Patwardhan) and abstraction (Zarina Hashmi), Khan’s matte oils on linen feature multicolored mazes while her monochromatic screen prints show civic plans and dust-hazed cityscapes.

  • Kartik Sood, Foreign Lands, 2015, archival ink, gouache, watercolor on archival paper, 14 x 14".
    picks February 15, 2016

    Kartik Sood

    Eerie landscapes and shadowy figures populate Kartik Sood’s debut solo exhibition “In Search of a Dream and Other Stories,” summoning up the oneiric quality that the title promises. Throughout the show, mixed-media paintings portray human forms dwindling before enigmatic natural vistas and forbidding architecture, while videos appear as experiments in stillness and motion, bringing some of the canvases to life through digital manipulation.

    There is a rather old-fashioned preoccupation with romantic imagery in works such as Encounter, Witness, and An Act (all works 2015), which feature distant