(Last Updated on : 15/07/2013)
Contemporary Indian Sculptors are vocal about the Indian identity and the modus operandi owing to the visual art zone. Contemporary Indian Sculptors have added weights and volumes of work to the domain of Contemporary Indian Sculpture
Sculpture essentially being a public art lays bare the cudgels of modernity, avant-garde expressionistic modes and futuristic ways. While the middle and pre independent era manifested the lack of independence on the part of Indian sculptors, as they were mostly commissioned for work and under quintessential patronage, post liberalization era witnessed the affluent emergence of new array of ideals which was a far cry from the stains of dogma or ideological shackles.
is the Indian-American Sculptor whose contemporaneity in the domain of art has been the key to modern aesthetics. What unfurled as an intercontinental jaunt turned into a lifetime and enduring passion for a culture and a place that has become her adopted domicile, a homeland beyond the limits of time, space and consciousness only to be refuelled by the fuel of inner calling, the artistic life force.
in his youth he became affiliated with the Communist Party of India
, his socialist ideologies influenced the early phases of his artistic career. It was through the active patronage of the Communist Party that he gained entrance to the Government Arts College
. In 1943 he did visual documentation and reporting of the Bengal famine for the Jannayuddha, magazine of the Communist Party. He has over the years used his talents as a graphic artist and sculptor, to express his own personal angst against a socio-political system which breeds acts of violence. Hore started making sculpture in the 1970s. The bronze figurines made by him recalled the agonies of famine and war and symbolized modern Indian art. One of his largest sculptures, Mother and Child was dedicated to the sufferings of the people of Vietnam. In the early 1950s Hore's drawings and his Tebhaga series of woodcuts show how Chinese Socialist Realism and German Expressionism had influenced him. He was also influenced by the robust style of German printmaker Kollwitz and Austrian Expressionist Oskar Kokoschka. His drawings, especially the human figures became simplified.
had shaped himself as an artist while experiencing the West during a period in which British art was changing. Rich imagery and narrative content of Indian art and the highly developed skills of a dedicated sculptor characterize the sculptures of Dhruva
. All his work is not narrative. In some pieces he explores the art making process thereby leading to the inevitable intellectual debate that ensues between artist and viewer, whether implied or expressed. His works vary in style and scale- from small bronze sculptures to monumental works for public spaces which are made of sand, cement, stone and stainless steel. Dhruva Mistry's works ranges from huge public commissions to maquettes and wall reliefs. They have influences from Hinduism
and West - Egyptian and Cycladic art and European traditions of figurative sculpture. His works are conceptual.
Mistry's work reflects individual curiosity and interest. He explored art in a variety of media like drawing, painting, etching, dry point, digital works, photography, and sculpture in various materials. Mistry works with scale and quality of forms, concepts and materials as a sculptor. His works reveal intrinsic appeal and perceptual beauty of the form. Mistry is inspired from civilizations and cultures like Indian, Chinese, Assyrian, Egyptian, Greek, European Mayan, Oceanic, and African, tribal, folk, old, new and modern. Mistry has created symbolic works with a religious background that evoke the Indian tradition. His approach represents a quest for subconscious archetypes which are shared by different ethnic groups. The special qualities that distinguish Mistry's work - a combination of refined mysteriousness, vulgar popular taste, and traditional sensuality. His method of synthesizing allusions to previous art work is relevant today amid doubts about the concept of originality. Mistry's effort to achieve a universal language as a mode of artistic expression while deeply probing his own ethnicity represents an extremely timely global subject.
has been centred on the human figure and their conditions. Initially her works in India were cast in plaster and gradually she moved towards working in clay, which was then fired. She adds colour carefully usually working it into the body of the clay. Female form and issues surrounding the female role within the family and in society are the recurring themes in Trupti Patel's sculptures. Her upbringing in Africa and India has endowed her with insights which have been endorsed by her exposure to changing Western values. Her way of working in clay is sensuous and sensitive. Her works have certain calmness as well as a contrasting world of cruelty, pain and hurt which is inevitable.