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  • A frequently portrayed theme, this sculpture shows two seated women one in front of the other, in the act of braiding the other's hair. A commonly seen domestic chore seen in Indian middle class homes, where women groom each other in the course of their day. The seated women in front has one leg folded up, showing a certain comfort of her surrounding; possibly in the veranda of her own home.
  • Dakshinamurthy is inspired by observing the people around him, particularly their unique pattern of behaviour, expression of moods, postures and gestures. His visual vocabulary derives mainly from Ayyanar figures and African sculptures, and is expressed in various media including different kinds of stones, ceramics and bronze. A versatile artist, Dakshinamurthy also paints in mixed media, acrylics, crayons, watercolors and ink on paper and canvas.
  • Sculpted in fibre glass on a grand scale, Reddy s monumental female heads and nudes are among the most visible and recognizable examples of contemporary South Asian Art. His works suggest a multifaceted femininity that is at once rooted in the past whilst embracing the contemporary world. Decorated with brightly coloured thick red car paint and gold gilt, Reddy s sculptures appear to be kitsch personified. Their wide open eyes, bold, rhythmic silhouette, elaborate hair styles, lipstick smeared pursed lips, coiled hair with plastic bands and ribbons stage the relations between memory, history, mythology and contemporary reality, the ironies of modern societies. However, their grand, confrontational stance and unblinking stare prevents them from becoming a comic spectacle. They would be neither out of place in a modern bazaar nor in an Indian temple. These female figures are dispassionate and impersonal, however there is a kind of alertness in their expression.
  • Roy Choudhury's sculptures consist largely of portraits and individual female figures, the latter of which became the dominant subject for his work. Perhaps his greatest contribution to modern sculptural practice in India can be attributed to his modeling techniques as well as the small scale at which his sculptures were conceived and realized.
  • Dhanapal was an influential painter and sculptor in post- Independence India. His sculptures, in particular, served as a visual bridge between traditional Eastern and the modern, ever changing Western aesthetic sensibilities. Dhanpal used to paint with water colours and tempera in the Bengal School style, but he had also adopted the southern idiom like the Lepakshi murals. He used to draw directly with a thin brush with simple, flowing lines and forms, creating compositions, revealing his powerful draftsmanship. Between 1955 and 1962, he made some remarkable sculptures like ``Mother and Child'', which were full of bhava. Without too many details they brought out the contemporary sensibilities of those days. The compositions were tight and compact.
  • Pochkhanawala's body of work, ranging from intricate preparatory drawings and theatrical sets to monumental public sculptures, explores and applies various materials, textures and techniques innovatively to engage with the concepts of time, space and nature, in a "rare marriage between form and content", as Anahite Contractor notes. "Since Pochkhanawala first began to sculpt in 1951 at the relatively late age of twenty-eight, her obsession was to unscramble the tight boundaries of space which were available to her through the time she existed in. Her arrangement of motifs, the strategic use of negative space around them, the aesthetic disproportions and, occasionally, her violent distortions even within the abstract mode she chose to work with, render to Pochkhanawala's sculpture a keen dynamism even today."
  • Bhagat frequently experimented with new and unusual media in his work. The unique style he perfected over the years illustrates an amalgamation of national heritage and artistic traditions and western artistic ideals, reflected in his use of geometric shapes and colour. Of all the media the artist worked with, wood seemed to suit him and his sculptures the best, taking on and communicating the many subtle motifs that were significant to him. Bhagat's style and body of work has often been compared to those of Victor Vasarely and Paul Klee, whose idioms also involved minimalist geometry
  • This sculpture captures the urbanity of animals through scrap mental. Kunhiraman has used the scrap metal of automobiles to create of form of a horse that is an animal of beautiful motion. He has combined the two as a satirical remark on the growing tension between man and animal, urban life and that of the rural.
  • Titled untitled composition, this sculpture attempts to explore pure form through its structure. The process of abstraction in this art work appears similar to that of simplification. However a hint of religious iconicity has been implied in the form, whereby the composition perhaps takes root from a cultic source. On the surface of it, the form has combined rigid shapes and structures to elegantly express an inner sense of the undefined.
  • Sun
    This sculpture finds a similarity to the visual language of modern Indian sculpture prevalent and prominent in this period of the artists time. While form was abstracted, the thematic is retained in the larger series of works. Balbir Katt, father to Latika Katt, also a renowned sculptor today uses the minimalist language in sculpture to convey a more fluid thematic.