Abstracts from the cityscape
Architect-turned-artist Pinakin’s first public exhibition of abstract paintings in the country will open today at a city art gallery, yet he does not wish to be labelled an “abstract painter.”mumbai Updated: Sep 30, 2010 00:32 IST
Architect-turned-artist Pinakin’s first public exhibition of abstract paintings in the country will open today at a city art gallery, yet he does not wish to be labelled an “abstract painter.”
Titled ‘Resonance’, the exhibition will showcase four series — ‘Jashan’, a set of three paintings; ‘Now’, a collection of seven paintings; ‘Architectures’, a group of four paintings; and ‘Illuminations’, nine works that focus on brush strokes and specific aspects of the other abstract paintings on display.
“Labels like abstract impose a particular point of view, whereas there are no fixed ways of looking at things,” said Pinakin. This is why the intention of the artist doesn’t count; what counts are the experiences that the viewer brings to the exhibition, added Pinakin, whose show runs until October 9 at Gallery Art and Soul in Worli.
“Many of my works have been in the making since 2002,” said Pinakin, who trained and worked as an architect in New York from 1984 but joined The Art Students League of New York, an independent art school, in 2002.
He would return to Mumbai every year to meet his family, and finally moved back to the city in 2009.
“In India, you cannot help but notice the architecture — not that of the high rises, but where most of the populace lives,” he said, talking about what informs the ‘Jashan’ and ‘Architectures’ series.
“You are surrounded by and immersed in the density of the architectural environment. What hits you is its fragmented nature and the plurality of its materials. Ornamentation manifests itself in religious icons or as celebratory lights. It does not look applied as an afterthought but is integral to the structures and to the life lived within.”
Tarana Khubchandani, gallery owner, has been following Pinakin’s work for a while.
“The language of the artist is varied in all the series but the grammar is the same,” she said.
“In all his works, there is an emptiness, a non space, in the centre, which becomes the point of deliberation or questioning for the viewer.”