CONCORDANCE.002
Medium Used: OIL ON CANVAS
Year of Painting: 2005
Painting Size: 183cms x 61cms
Painting Description
It is how, over here, we have the joints, the pins and needles, the sticks and stones in their fascinating square dancings, dialectics, matings or courtships, and so on. These are overtures of material reality as well as its upshot, the reflections in our own minds, the concourse of specters, shadows and shades. The forms or configurations that our perceptions assume.
CONCORDANCE.001
Medium Used: OIL ON CANVAS
Year of Painting: 2005
Painting Size: 183cms x 61cms
Painting Description
Sangeeta’s new work is instinct with movement, and so this once with full knowledge of what she is excluding from it. This time around she represents nothing at all, and merely presents, or if you like, enacts the choreography of normally not noticed objects, things, materials etc, she presents the energy behind the apparently neutral, non-gendered fact.
STEP BY STEP.006
Medium Used: OIL ON CANVAS
Year of Painting: 2002
Painting Size: 122cms x 92cms
Painting Description
To put it another way, she sucks out the contemplative goodnesses from out of these otherwise inert realities. The artist in Sangeeta is amazed at the world lying about her in such potential richness. And she mines these very riches whose value is in pure delight, nothing more nothing less. Having seen the growth, or change, in her mater for the past some years, one can say that this painter is not the same person, you speak to, in social gatherings, for this other one is really in a state of permanent dreaming, in a mood of constant astonishment, and which makes her marvel at everything seen.
STEP BY STEP.005
Medium Used: OIL ON CANVAS
Year of Painting: 2002
Painting Size: 61cms x 76cms
Painting Description
All art would be said to derive from an ever latent dream, and one which many a painter likes to guide. But in this present case it is as though the work guides itself quite independently. To dream this wise is to forget the materiality of ones body, to shuffle into one pack the outer and the inner worlds. Our painter would appear to dream a little whatever she even at the exact moment of painting, as progressively, that is even while she is seeing the so called common objects in her studio curtains, slats, the criss-cross patterns on her own blouse, the bathroom’s welcome mat, the grill up by the ventilator to enumerate certain of the objects or appendages. All of which gain souls by this act of dreaming, or especial seeing.
STEP BY STEP.004
Medium Used: OIL ON CANVAS
Year of Painting: 2002
Painting Size: 76cms x 76cms
Painting Description
The painter is not concerned to treat us to the gross substance as appears commonsensical, but rather the essences that underlie it. And these may well be the rhythms in their various guises. The work therefore is a kind of algebra, and not additive arithmetic. Its import is to our contemplating, self delighting eye, rather than to the computing logos. A vision of motion in action so exciting that if annihilates every other kind of wish, say, for the descriptive narrative, and which is catered to by disparate orders of art quite adequately.
STEP BY STEP.003
Medium Used: OIL ON CANVAS
Year of Painting: 2002
Painting Size: 76cms x 76cms
Painting Description
It is how, over here, we have the joints, the pins and needles, the sticks and stones in their fascinating square dancings, dialectics, matings or courtships, and so on. These are overtures of material reality as well as its upshot, the reflections in our own minds, the concourse of specters, shadows and shades. The forms or configurations that our perceptions assume.
STEP BY STEP.002
Medium Used: OIL ON CANVAS
Year of Painting: 2002
Painting Size: 122cms x 92cms
Painting Description
Sangeeta’s new work is instinct with movement, and so this once with full knowledge of what she is excluding from it. This time around she represents nothing at all, and merely presents, or if you like, enacts the choreography of normally not noticed objects, things, materials etc, she presents the energy behind the apparently neutral, non-gendered fact.
STEP BY STEP.001
Medium Used: OIL ON CANVAS
Year of Painting: 2002
Painting Size: 76cms x 76cms
Painting Description
If any viewer of these works wonders what they are about, let him think on the word rhythm it is such movement and its patterns that inform the root reality. Dancers and musicians build their houses of beauty on that very foundation, even as our body registers the same. Thus day and night. Now painting too will not be left far behind, even though we imagine that it images still life. Well, if on the surface it is minus physical motion, it is certainly not so, or may not be so, in what it imaginatively conceives on a flat surface.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2004
Painting Size: 152cms x 122cms
Painting Description
The artistic persona of Sangeeta Gupta (one whose works in process I’ve watched for a decade or more) appears increasingly to gain in weight. If we do not fall into the trap of making exalted claims, we should not, either, be too modest. The critic who dismisses the whole of modern art as worthless is more likely to be wrong than those who can only interest themselves in it if they are assured of its greatness and permanence. Well at least in the case of this painter one comes upon evidence of things truly and sincerely created. Here there are clear signs of a restless mental energy, of lively invention, of strong spontaneous feeling.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2004
Painting Size: 152cms x 152cms
Painting Description
The dialectic process of her personal or professional life makes her the more jealous to ride necessity by force. Therefore, her artwork is the result of a spirited being, which is unambiguous. In this way, like all genuine artists she is busy renewing tradition through her own life space and that without any artistic manifestos or missionary pretensions. Never letting go of her commonsense. The upshot brings conviction to her chosen canvases: nothing mushy there, nothing spurious spiritually, as so often these days.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2004
Painting Size: 152cms x 152cms
Painting Description
The dialectic process of her personal or professional life makes her the more jealous to ride necessity by force. Therefore, her artwork is the result of a spirited being, which is unambiguous. In this way, like all genuine artists she is busy renewing tradition through her own life space and that without any artistic manifestos or missionary pretensions. Never letting go of her commonsense. The upshot brings conviction to her chosen canvases: nothing mushy there, nothing spurious spiritually, as so often these days.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2004
Painting Size: 152cms x 122cms
Painting Description
Sangeeta’s kind of personality is not dreamy, but resolute, meaning business (and this strident trait you notice in her poems most compellingly). So, she has no uses for mere description, or for cloying figuration. She, in sum, makes no concessions, her aim being clear, the target plain as a pikestaff. For her, the job is enhancement of self.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2004
Painting Size: 122cms x 92cms
Painting Description
Each non-descript view from her window is infused with intoxicating movement, nay with animation. Her seeing eye is just not static, it is too restless for that. It is sheerly active, bent upon mellowing the heartless stuff of metropolitan actuality. Surely, she sets herself a wager to outsmart the unyielding tedium of squares and rectangles, as of the forbidding officialese. Thus, all that becomes charged most like a forward moving film made out of moribund stills.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2003
Painting Size: 92cms x 92cms
Painting Description
Quite as with genuine creating people, we note that this mental energy is transformative of a crass urban material such as we meet from day to day in our city centres. If Ramkumar tackled nature creatively for decades, this painter engages similarly, but in her case with concrete and mortar. Yet look what she does with it. She makes the lifeless, living by simply breathing on it her own life-generating passions.
HIGHRISES OF THE INWARD EYE
Medium Used: OIL ON CANVAS
Year of Painting: 2003
Painting Size: 92cms x 92cms
Painting Description
The artistic persona of Sangeeta Gupta (one whose works in process I’ve watched for a decade or more) appears increasingly to gain in weight. If we do not fall into the trap of making exalted claims, we should not, either, be too modest. The critic who dismisses the whole of modern art as worthless is more likely to be wrong than those who can only interest themselves in it if they are assured of its greatness and permanence. Well at least in the case of this painter one comes upon evidence of things truly and sincerely created. Here there are clear signs of a restless mental energy, of lively invention, of strong spontaneous feeling.