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in)

Final Display 2017, Department of Fine Arts,

Sarojini Naidu School, University of Hyderabad

The Students’ Final Display is an organized artistic

Mithul MT
practice in the premise of the Department of Fine

Display of
arts, Sarojini Naidu School of Arts and
Communication in the University of Hyderabad. In
this year, the Final Display was on view from 2nd to
Uncharted 4th May. The thirty out-going students from
Painting, Printmaking, Sculpture and Art History and

Explorations Visual Studies of the MFA program organized the

event with collaboration and discussion with the

6 faculty, staff and fellow students of the department.

The students displayed the selected works that they
created during their two years of academic program
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in the university.
(http://www.hakara.in/category/now/reflection- I found that the event offered a
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thinking process of various curatorial issues that are
dominant in the contemporary art scene. For
example, how to display what was experimented in
the past years; how to display the artworks that are
still under process; how to understand and assume
the spectator; how to think the artists and their
works are also the spectators of the spectators were
some of the points that were discussed. The Final
Display had a spectacular appearance this year. At
first sight I felt as if I am in a grand art fair.  It was
enriching to witness the camaraderie and
 community that the students built through their
works that also hid the complex laborious and
layered relationships as well.

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Display of
Uncharted
Explorations
6
back
(http://www.hakara.in/category/now/reflection-
now/)

In the exhibition, the artists’ primary concerns were

to express a strong sense of individualism. Each
work was placed with a concern of the spatial
distribution of the architecture at the Campus. The
showcased artworks were in the dynamics of space
demanded by their own aesthetics. Some works
were displayed in a typical art gallery fashion while
some were not. Some were kept below the normal
 eye level and some were not kept on pedestals. All
the artists truly explored the space within which
their artworks were kept on display. Display set off
to journey of uncharted explorations of artist’s. I
believe that the art works can be understood and
appreciated with the viewer’s sensibility and quality
to visualize, experience, and conceptualize with the
accommodation of physical, meta physical and
logical possibilities. Nevertheless, the diversity in
the art practice and experiment along with the
historical rigor marked the freedom of the students
and enabled them to understand and learn from
their own practice and works.

Diveesh Gadekar’s sound installation series tilted as

Mithul MT ‘Hyderabad 1’,’Hyderabad 2 ‘ and ‘Listen to me’ that
were displayed in the courtyard and corridor of the
Display of printmaking studio played between noise and
silence. These interactive sound installations had
Uncharted tried to club the different sensibilities of visual,
audio and sensory feelings to create a new world of

Explorations experience. The nature and the activities of the city

landscape is the soul of his works. By combining the
two environments of diverse medium and space
6 creates a dialogue of his work. Tanaya Kundu
through her works on body and bruise brought the
back
issues of sexual
(http://www.hakara.in/category/now/reflection- abuse, memory, and family
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relationship at the centre of her making in the
printmaking studio. Her etched and scratched
fiberglass surface, video projection of her
performance on shaving of her head, sculptures of
broken legs in plaster of Paris, and a hanging figure
that is made of tree roots pushed the audience a
step back before they move further to see what is
next. Gautham Ramachandran’s photographs of
silver bromide print series on ‘Inner landscapes’ and
‘Tamilakam rekaikal’ are simply a gaze on mundane
landscape and object and the ‘Etching in history’
series is a metamorphosis of engraving technique on
historical monuments. Mannan Seikh’s ‘Two pillows’
and ‘Melting motion’ installation with ice bricks
 consist of etchings, drawings, and video projection
which subvert masculine representation in daily life.
In ‘Broken Connection’ and ‘ Our Society ‘ Probhash
Sarkar experimented with the lazy objects of his
studios that include incomplete self-portrait, empty
mineral water bottle, used zinc plate, gifted cactus
plant as metaphors to address the issue of waste in
his surroundings. Anju Chandran’s ‘Animal
Husbandry’ is made of photographs, fossils of
reptiles and other species such as frog, fly that
constructed a meta-narrative of her own life.

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Display of
Uncharted
Explorations
6
back
(http://www.hakara.in/category/now/reflection-
now/)
 Priyanka Das interlaced sound with smell and body
to jerk the issue of sensory experience that we get
from our surrounding and also that thrusts an
identity upon us. Her multimedia installation which
was displayed in the corner of painting studio one
utilized the drawing over the transparent sheet as
interlace with the audio of flushing and the odor of
distress. Her drawings of limbs and tissues in the
boxes with pinholes and in the public toilet confront
us with the visual representation of human bodies in
distorted realities. Azmeera Hathiram created a
bricolage with prints, drawings, watercolors, and
historical and popular images. Hatiram intended to
suggest that our visualities in the surroundings are
the imitation of history. Akhil K Chandran also
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joined Hatiram with similar approaches through a

Display of large number of miniature paintings and drawings

on the stationary sticky note pads. Tulasi Kirlampalli

Uncharted
played with discursiveness of frail and fragile by
keeping her images floated with the wind, but within
the wooden frames that were displayed near to
Explorations entrance of one of the painting studios. Mayuri Chari
worked with raw cow dung and the conventional

6 process of making cow dung cakes. She made

sculptural forms with raw cow dung to suggest
mutation of body. Sumantra Sardar overlapped text,
back
(http://www.hakara.in/category/now/reflection-
drawing, paintings and an installation that deals
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with the tension of unsettlement and migration as
well. Nasrin Ahamed, Bipin Saha and Krishnendu Roy
worked on their own conflicts of survive and service
in home, village and city. Nasrin Ahamed works over
the religious customs is her understating’s and the
questions about them which she experienced from
her village. Bipin Saha through his paintings raised
his concerns about the changes happening in the
environment and its effects in the society.
Installation of the iron paddy field and the distorted
straw basket raise his concern over cultivation and
changing traditions. Krishnendu worked with the
changes happening in the topography due to
 urbanization. He made use of cartography and
geographic views to map the changing world. John
Varghese’s photographs, captured in his mobile
camera are the subversion of mundane incidents
that keeps on happening every day, around us.

Pradip Banerjee’s work with terracotta was about

the fractal space of an object. Anupam Paul’s
‘Transforming Potter’ brings the object ‘pot’ and its
attributes to the centre of identity as potter and
state of being. The hybridity of folk and mechanical
reproduction in Kalpit Gaonkar’s works reflect the
elements of transition, transformation and
degradation. Anakapalli Sivakrishna worked with
playfulness and its endearing forms that have the
Mithul MT simplicity of natural materials. His sculptures render
and unravel the thoughts, desire and questions that
Display of confront him. Ragesh’s  work showcased his visual
exploration with the study of the objects around it,
Uncharted not as an imitation or its utility, but as an
understanding of the different characteristics,

Explorations relations, and thoughts beyond the formalist

perceptions. The organic biodegradable marine
materials are transformed into natural and social life
6 in the works of Ujjwal Mandal. Landscapes occupy
the works of Indranil Biswash with the question over
back
space, architecture
(http://www.hakara.in/category/now/reflection- and its natural inclination.
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