3 TO TANGO – DISTINCTIVE STYLES, ONE COMMON DISCOURSE

Review by Sarmistha Maiti
February 01, 2012

 

3 to Tango
Binoy Varghese, FarhadHussain, George Martin
January 27-February 25, 2011
Polka Art Gallery, E 5, Defence Colony, New Delhi – 110024

3 to Tango the current exhibition in Polka Art Gallery, New Delhi.The exhibition brings together the works of three contemporary artists, Binoy Varghese, FarhadHussain and George Martin. The show is being curated by Arti Singh, who is also the owns the gallery. The gallery’s endeavour has always been putting forward cutting edge shows and this one was another feather getting added to its hat of innovative take on art. The trio comes up in their distinctive style of addressing their ideas, concepts and in their execution process, yet they meet on one common ground of innovation in the state of contemporaneity.

If George’s acrylic abstractions reflect the modern urban life and its extremes, Farhad deals with his human images, which are transformed into creatures of great contentment and candour-poised, timeless and wise in a world that is filled with contradictions and conflict. Binoy on the other hand is obtrusive with photographs taken over time and attempts to document artworks in storage, in transit dealing more with the processes of both construction and de-construction or better to state it as the process of installation and de-installation. Binoy probably goes a step ahead.

Binoy Varghese re-visits to the discourse of ‘otherisation’ and the dichotomies associated with it. Ideas about ‘public’ and ‘private’, about the inelegant backstages of a world that craves slick presentation take the forefront to make statements of his works. The way Binoy places the compositions accomplished with intent that might look as an over-mindful designing pattern must not be taken into account in that form. There is exhilaration but that’s the part of the execution to provide the intrigue quality the works bear.

Farhad in his regular exposition pattern puts forward the human figures in flat, thick single colour and tones of pink and blue and with cerulean blues and evocative vermillion backdrops. He plays with vibrant moods and adds to it the celebration of mockery. Farhad’s rounded yet flattened rendering of human figures and familial ties clearly reflects the influences of Cubism. But his colour scheme remains pure and without any mixture that infuses the works with a playful yet poignant spirit.

George Martin’s is more towards the abstract expressionistic style but with lush of colour, he makes it more indigenous and relative to its space and time. There is a visual extravaganza in Martin’s works and his capability to merge multiple colours on a single canvas is his forte. He paints a magical view of the world around us that appears to be spinning at a dizzying speed. So again referring to the content or subject of his works, it is clear that they cannot be just limited to the category of spectral summation of lush colours. And hence, more precisely, George Martin’s densely populated compositions echo the transitory and the disunited true nature of the world we live in.

3 to Tango briefly could be referred as a subjective comment on contemporary art practice, though directly not experimenting with the formal experiences of art-making but definitely with the ‘non-conclusive’ nature of contemporaneityand its conflict at the level of generating discourse through art.


Binoy Varghese, Untitled, Acrylic on Canvas