Shankar Kumawat: "Wood"

The diptych Wood is a painting in two parts. We can see it as “before” and “after”. Or perhaps a tale of two villages.

Kumawat's painting, which is from the series "Silent Nights", asks us to think about deforestation and the wise use of natural resources. But it also tells of village needs for cooking and warmth. Central to the painting is a plea for respect of beauty and the natural environment.

The unpainted teak frame (not visible on this blog) adds both irony and reality to the ideas expressed in paint and gold leaf.

Madame X.: Disappearing Barber's Chair - Final Night

Night view of Gallery One on the last night of Madame X.'s Disappearing Barber's Chair.

Madame X.: Disappearing Barber's Chair - Day One

A street view from the first day of the installation Disappearing Barber's Chair by Madame X.

Photos of the last day of the installation will follow.

Madame X.: Disappearing Barber's Chair

The installation Disappearing Barber's Chair by Madame X. features the above photograph printed life size on industrial vinyl sheet. It is held in a metal frame, as is common with signboards. In front of this image sits a real barber's chair. It is an older variety, made of welded iron and cushioned with cheap vinyl cloth.

Each day of the installation the chair is covered with more and more shaving foam from locally purchased aerosol spray cans, until the chair "disappears".

In India the local barbershop serves as not just a place to get a shave. It is in fact a small community center, where the men of a neighborhood meet to talk, share local news, discuss politics and business, and also make new friends. As in much of the rest of the world, India’s small barbershops are under threat by the introduction of home shaving foams and razors.

These days it is difficult to find a small barbershop in large cities such as Bangalore, where men have followed the lead of television advertisements and now shave at home. This installation by Madame X. pays tribute to the small family barbershop, and asks us to think about the ways global markets can swallow local traditions and ways of life.

We hope to have actual installation views posted within a few days time.

Madhu Chitrakar: "Progress"

The folk arts of Bengal include narrative scroll paintings that itinerant artists couple with song and storytelling. Traditionally such scroll paintings retell various myths and religious stories, or perhaps recount local history.

Madhu Chitrakar follows in this rich tradition, but reinvents the narrative scroll in a contemporary context. "Progress", which is the scroll currently exhibited at Gallery One (my apologies for the distorted view given above) is one such example. Just click on the image to enlarge and see the details.

The painting reads from left to right and gives a "naive" view of the destruction of natural beauty. But the artist is completely sophisticated in his awareness of environmental destruction caused by urban sprawl and touristic development.

Shankar Kumawat: two from the series "Silent Nights"

This Diwali we inaugurate Gallery One, a new space owned by Rajesh Soni and curated by myself, Waswo X. Waswo.

Gallery One is probably Udaipur's smallest art gallery (the floor space measures less than 8 x 10 feet!). We are located on the road leading to Chandpole.

In spite of our small size, Gallery One hopes to serve up exciting and innovative displays that will encourage not only the appreciation of creative art in Rajasthan, but also address important social and cultural issues.

Our first exhibition is by local Udaipur artist Shankar Kumawat. Two paintings from the series Silent Nights evocatively comment on the issue of the importance of water in India's dry north, and the need to literally capture every drop.

Each painting measures 27.5 x 27.5 inches, and are water-based pigment plus gold leaf on board.

Rajesh Soni and I hope this inaugural exhibition will be the start of many exciting shows to come.