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8/1/2011 6:00:10 PM
divine play vasant wankhede
1, madhuli, shivsagar estate, worli, mumbai 18 tel: (022) 24965798 www.galleryartnsoul.com
Catalogue revised.indd 2-3
8/1/2011 6:00:20 PM
The sings of inner nature can only be witnessed in itself. In order to achieve this. this is done by using various mediums. 911.18th Chapter Catalogue revised. he attains God without doubt. Dasbodh.indd 4-5 8/1/2011 6:00:20 PM . He tries to create a magnificent piece of art in that unique style throughout his entire life.Vasant Wankhede It is the intention of God that everyone should perform the duties which are prescribed for him. Dnyaneshwari. his guru endows him with vision.The vision which can be perceived by the ‘mind’ can’t be seen by eyes.7-4 “Art does not have rules. 48. Chapter. In fact for that matter every individual possess such power. to some extent animals and plants are also gifted naturally with it.” . If he does his allotted work properly. Every artist with his experience and attitude of experimentation tries to achieve his unique style of expression.
J School of Art. for the past 5 decades has dominated the visual art field with his meticulous dedication and rigorous but subtle hard work with experimentation. Vasant Wankhede is the only doyen exponent of ‘fiber art’ in India which is oriented towards serious art expression than decoration or new media art. His simple abode in Goregaon where he has lived for the past 40 plus years. The tool used by him to transcend his art is . and his abstinence from normal pleasures of material satisfaction places this maestro on a different pedestal. like sometimes a subtle breeze cuddles the skin and passes in a moment.Abstract Art. use of waste printing papers in ‘collage’ and finally use of bandage cloth and fabrics as „extrasensory’ medium of painting. Wankhede enjoyed this process on the canvas and that was just the beginning for his creative explorations. especially in experimentation on various media and its successful transposition in art. .S. While working at the Government press he happened to notice the overlapped shapes of colours and numerous textures produced on rough papers. As an artist these abstract prints produced by the printing ink left a lasting impression on Wankhede. Wankhede’s father used to ask his son to go inside a huge boiler to clean it and the boy got inside as a boy but came out as a boy fascinated and amazed by the gigantic life form as a machine as an independent entity. The tradition of clinging to pigments and their manipulations did not allow this rich form of art to grow. The artist within Wankhede is shaped by his ‘introspective outlook’and openness to experience the various phases of his art life as an artist. has. …the urge to abstraction is the outcome of a great inner unrest inspired in man by the phenomena of the outside world. which shows its effect as an aptitude of inventiveness. He realized his purpose in life is to be in leela . The person who succeeds through this ordeal shines like ‘gold’”. only action backed by knowledge becomes flawless. In doing so he experimented by diminishing the impression of objects in his view by adding and subtracting. the biggest achievement or even ‘world fame’ appears small and futile. “If someone unknowingly comes in contact with a slight touch of divinity. in a religious respect it corresponds to a strongly transcendental tinge to all notions. Gaithonde. Lakshman Shrestha and S. Following his Guru. This was a result of using the rough papers to clean the print rollers and when these rough papers came out of the rollers they were transformed to various forms through the mixing of inks in no particular order. therefore.indd 6-7 8/1/2011 6:00:21 PM . Else whatever worship is done without knowing me becomes fruitless. The simple truth behind this is testified in the reflection of his life.Wilhelm Worringer (Krishna Addressing Arjuna) so I must be worshipped in my own being. A new ‘visual value’ was emerging for him from such neglected waste. Though for an artist this achievement is beneficial on a practical level. Wankhede agrees that his use of abstraction was achieved through practicing landscapes. H.Vasant Wankhede 6th June 2010 Catalogue revised. and. For the one who goes through this experience.also helped Wankhede. but not letting it affect the creativity is like going through an ordeal. Wankhede’s excellence in painting evolved naturally. At one end there was natural and manmade reality which came as the view of a landscape and at other end the scattered. Serendipity.9th Chapter Vasant Wankhede. In order to achieve this he practices the spiritual act of self denial. Leela the ‘divine play’ is the true spirit of painting and can only be identified and reached by the pious surrender of self. along with other vivid imagery might have remained in his subconscious. These experiments consisted of using children’s drawings in a painting. which is the opening up of ‘visual enchantment’. opines Wankhede. Raza who used abstract art as the medium of expression and have made an impact on the Indian art scene. this orthodoxy has been responsible for making this art form less known to the Indian art field. The decade of 1960s and the then artists like V.Origins of Wankhede’s art can be attributed to the rich tradition of painting bestowed by the J. We might describe this state as an immense spiritual dread of space…1 . abstract and futile images as ‘relics of machine’. Dnyaneshwari 350. In his childhood the ‘machine’ had already etched a liking as a magical ‘life entity’. This. This as a tool of his creative expression is best attributed to the history of India’s modern art. He is a Tapasvi (ascetic) who has dedicated his life to the pursuit of contemplation.
Catalogue revised.indd 8-9 Untitled Collage with Fabrics 40” x 36” Untitled Collage with Fabrics 40” x 36” 8/1/2011 6:00:24 PM .
Catalogue revised.indd 10-11 Untitled Collage with Fabrics 40” x 36” Untitled Collage with Fabrics 40” x 36” 8/1/2011 6:00:28 PM .
Catalogue revised.indd 12-13 Untitled Collage with Fabrics 40” x 36” Untitled Collage with Fabrics 40” x 36” 8/1/2011 6:00:31 PM .
everything can be seen with clarity.18th Chapter 8/1/2011 6:00:32 PM .indd 14-15 Untitled Collage with Fabrics 40” x 36” “For if the vision is clear.Catalogue revised. it becomes easy to comprehend the essential nature of things. So with the attainment of pure knowledge.” Dnyaneshwari 527.
He discovered the visual vocabulary around him in various materials and colour pigments. which started on 31st August 1965 when I had my first one man show at Taj Art Gallery. it ‘happens’. water colours on handmade paper and the subject was ‘Landscapes of Ruins’.” He had told me to forget colour and give him 50 paintings in black and white. Therefore I am blank like a canvas. For Wankhede the consciousness is about ‘nothingness’ or ‘being blank’. This is very much the result of his pious and subliminal approach towards his life and art. body is the extension of soul and my soul is the extension of my Guru. This view has resulted in much art of a semi magical character.”2 Of what avail are wings of eagle if they are given to a blind man? So good actions not based on wisdom are only wasted effort. through his paintings shows the world that his passion is for the discovery of the ‘unknown’ through ‘known’ . he considers himself as an ‘instrument’. 3) Paper collages 1977 – paper from children’s exercise books and 4) 1990. Wankhede. He faced lot of criticism from a few viewers of abstract art. he considers this as an inheritance.the ‘known’ aspect is sometimes the colour pigment and sometimes fabric. I don’t work on a painting. In explaining this. he suddenly spoke (‘sun of wisdom’) “That sun is visible because of this sun” (After pointing at sun in the sky he pointed towards Wankhede’s forehead) “By these words he bestowed a ‘Vision’ to me” We get to capture Wankhede’s career as a professional in his own words “I walked four steps in four decades (1965 to 2005) in my professional career. this grasp of identity helps us every time to recognize these objects and their realities. This first show gave me success as predicted by my guru Shankar Palsikar. This is the origin of the visual ideas which appear on the picture plane. oil on canvas. Relationship of those elements creates a certain identity. entirely independent of the subject of the work of art.” In these four decades four major changes came in Vasant Wankhede’s work. in a way that for an artist like him. but the uniqueness of this exhibition is the display of his water colors. 1) Black and white water colour on paper.indd 16-17 8/1/2011 6:00:33 PM . School of Art. the brush. What makes it further appealing is the declaration from the artist himself that this is his last exhibition. he starts from the very basic instrument used by a painter. The first describes as non representational painting that is painting which does not refer to the visible world but only to its own intrinsic concerns. Divine Play consists of Wankhede’s recent works that display the same vigor and versatility. palm is the extension of hand. textures etc. 306. fingers are the extension of palm. Whatever happens is the Guru’s wish. colours. He is suggesting. Dnyaneshwari. criticized the absence of pigment. He says. This vision is not generated only through the transmission of retinal image and its percept but it is created with complete consciousness. The artist always tries to go beyond such everyday realities.” Catalogue revised.” The same has happened here with Wankhede’s art. “Like a sculptor he sculpted me from a shapeless stone. “The term ‘abstraction’ in art has two main applications.old architectural monumental buildings. Painting is a kind of new reality which is the culmination of the process of mind. totally abstract. hand is the extension of body. “Brush is the extension of fingers. which are on show for the first time. what is more important is the ‘visual sublimation’ rather than the worldly achievement. 1965 2) In colour. The second kind of abstraction is that which ‘abstracts’ its image from the visible world.As per the dictionary of arts and artists “Abstract art depends upon the assumption that specifically aesthetic values reside in forms and colours. the consciousness of a total ‘human being’. The 14 paintings exhibited in it were in black and white.Fabric Collages. J. and ‘the magical’ aspect was in the transformations of the used materials into an ‘ethereal’ visual devise. who unaware of the experiential progression and nature of his work through the decades. I don’t work with a theme or a subject. the perception as the whole comes in to being through all the five senses anchored by ‘vision’. 9th Chapter One day when I was walking with my guru in J. Every perceived object comes with a bundle of visual elements like forms. which is duly acknowledged by him.
2011 7.Vasant Wankhede 16th October 2010 Note -Godhadi-Traditional quilts. S.7. Geeta Press. life becomes effortless.org/notices/newsletter09-02. Catalogue revised. Although this blanket is made up of mixed experiences having pleasant-unpleasant feelings. These are re -cycled joineries of layered fragments of old fabric. http://www. Bioomsbury. 263 6. Baroda. Michael. Manuscripts by the artist. 267. like appliqué of sorts. Dandekar. but with our watchfulness we can appreciate them in order to place them properly in the whole picture of life. one can arrange them innovatively to make it attractive. have running stitches of white thread which hold together the diverse pieces of cloths.pg.com/godhadis. 28. This in itself is the ‘Godhadi’ of my life.7. The life transforms in to “Satyam – Shivam – Sundaram” (Truth is Eternal and Beautiful). This experience with ease creates aesthetic contentment. Although one cannot predict its length and breadth.Varkari Shikshan Sanstha.bvbpune. .indd 18-19 8/1/2011 6:00:33 PM . Work done during leisure time by women in rural Maharashtra. which appears to be like a fragment only because of the transitory nature of events.org/marathi/index.2011 4. (Mamasabh) Sartha Dnyaneshwari. http://www. Any experience is like an eternal thread. Essay written by Nitin Arun Kulkarni (As part of a larger essay) Content: Conversation with Vasant Wankhede References: 1. 2009 http://aras. Essential art history. one can try to make it beautiful and artistic. August. Pg. creating its own regular rhythmic patterns. and this ease creates a sense of beauty.html#Dnyaneshwari as accessed on 18. When this awareness of ‘wholeness’ is realized.shakukulkarni. Pg.2011 8. 15 2.htm as accessed on 22. Gorakhpur. Duro. Panikkar.htm as accessed on 22. 1992. Worringer. Shivaji K. 1997. pg. Art and Psyche Online Journal. 1998.Life = a multi fabric patched quilted blanket (Godhadi3) = ‘Birth’ is the first piece of patch with the formation starts of this ‘blanket’ and finishes with the last patch ‘the death’. Wilhelm. 255 9. Paul and Greenhalgh. 3. V.7. or thin mattresses. Dasbodh. Alandi.2011 5.org/ as accessed on 21. http://sanskritdocuments. We cannot predict which kind of experience we are going to go through. 727.7. Abstraction and Empathy: A Contribution to the Psychology of Style.
Vasant Wankhede 8th August 2011 Untitled Watercolour on Paper 30” x 22” Catalogue revised. I am extremely grateful to you all! “I just carry the load of your belongings. Nakhate Maharaj blessed me with their unselfish embrace… forever I will not be able to reciprocate… . this almighty is omniscient and the beholder of all. my lord without any sense of self” like this line of hymn (Abhang) of saint Tukaram. The miracle of shri. My Guru in art Shri. who in fifty years of my art career have directly or indirectly accompanied or helped me and encouraged me. in gratefulness” Those. Palsikar and spiritual Guru Shri. I have tried to remain self less.“Thou I surrender. Pandurang.indd 20-21 8/1/2011 6:00:35 PM . is unconceivable and unimaginable.
indd 22-23 Untitled Watercolour on Paper 34” x 23” Untitled Watercolour on Paper 30” x 22” 8/1/2011 6:00:39 PM .Catalogue revised.
Catalogue revised.indd 24-25 Untitled Watercolour on Paper 30” x 22” Untitled Watercolour on Paper 30” x 22” 8/1/2011 6:00:43 PM .
indd 26-27 Untitled Watercolour on Paper 30” x 22” Untitled Watercolour on Paper 29” x 21” 8/1/2011 6:00:47 PM .Catalogue revised.
indd 28-29 Untitled Watercolour on Paper 29” x 21” Untitled Watercolour on Paper 30” x 22” 8/1/2011 6:00:50 PM .Catalogue revised.
Catalogue revised.indd 30-31 Untitled Watercolour on Paper 30” x 22” Untitled Watercolour on Paper 30” x 22” 8/1/2011 6:00:54 PM .
indd 32-33 Untitled Watercolour on Paper 30” x 22” Untitled Watercolour on Paper 30” x 22” 8/1/2011 6:00:58 PM .Catalogue revised.
indd 34-35 Untitled Watercolour on Paper 34” x 23” Untitled Watercolour on Paper 34” x 23” 8/1/2011 6:01:02 PM .Catalogue revised.
78. perform. Dnyaneshwari. without self-interest.Untitled Watercolour on Paper 29” x 21” You should.indd 36-37 8/1/2011 6:01:04 PM . therefore.3rd Chapter Catalogue revised. the appropriate duties. which have fallen to your lot.
2004 “The Search” – Organized by the National Gallery of Modern Art in Muscat. Mumbai Mustan Currumjee Rustom Hormazdiyar solo exhibitions 1965.vasant wankhede 1936 1959 Born in Maharashtra. Japan Roopankar Museum of Fine Art. Bharat Bhavan Taj Hotels State Bank of India Lehman Brothers. Italy H. Organised and sponsored by the Aberystwyth Art Centre and The Welsh Arts Council. Bhopal.com Catalogue revised. 1973 awards & recognition for films 1984 Silver Lotus for Animation (National Award) 1986 Silver Lotus for Direction (National Award) 1985 Deputed for Cambridge Film Festival vasant wankhede National Gallery of Modern Art. 1973. nitindrak@gmail. Mumbai. Mumbai.Inaugural exhibition of Bodhana Foundation. www. 1996 Urban Signals …. Mumbai. 1996 Sixth Bharat Biennial of Contemporary Indian Art – Bhopal 1997 50 Years of Art in Mumbai-1947 to 1997 – Organized by the National Gallery of Modern Art.spentamultimedia. 2000 & 2003 select participations 1993 A Critical Difference-An Exhibition of Contemporary Indian Art. Reproductions of colors shown may differ from actual due to printing limitations. 1963. Mumbai Milan Museum. Shifting images – Inaugural exhibition of the Birla Academy Of Art and Culture. 1966. 1978. 1969. 1977.com All rights are reserved under copyright conventions.Van Der Giesson. Sir JJ School of Art. Catalogue Print : Spenta Multimedia. 1970. 2010 The Harrington Street Arts Centre. acknowledgements Copyrights ‘Divya Leela’ ©2011 Gallery Art and Soul Copyrights©2011 Nitin Arun Kulkarni. 2005 “Journey 2” – Organized by Gallery Art & Soul. Mumbai. New Delhi Glenbarra Art Museum. India IDBI Aditya Birla Group Skypak Couriers Ltd. Sidney Gomes and several other private collections awards 1957. 1967. Kolkata – Inaugural exhibition. 1962. 1979. 1972. 1974. Mumbai. 1986. paintings in the collection of: National Gallery of Modern Art. 1990 & 1993 1999 Retrospective 2008 Bodhana Foundation group exhibitions 1969. 1966.indd 38-39 8/1/2011 6:01:05 PM . Sultanate of Oman. Mumbai 2009 V K Wankhede: Retrospective Exhibition – Organized and sponsored by Bharat Bhavan. touring 6 Cities in UK. 2007 “Unstretched Canvas”. No part of this catalogue is to be reproduced or utilized in any form without prior permission in writing from the publisher. 28th April Diploma in Drawing and Painting. Holland Tanishq (Tata) Larsen & Tourbo Air India UB House Hotel Searock. Produced & Published in India by Gallery Art & Soul.
shivsagar estate.galleryartnsoul.indd 40 8/1/2011 6:01:15 PM . mumbai 18 tel: (022) 24965798 www.com Catalogue revised.1. madhuli. worli.
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