Crow And Shraad

45000 (excluding GST)

Item Code: RoshanC-5

Availability: In stock

Product Type: Watercolor and Charcol on Paper

Size : 16x26inches

Artist : Roshan Chhabria

Gradually my visuals have developed in ways where my formal explorations have themselves become conceptual premises, referring to and sometimes appropriating images from popular culture like newspapers and magazines, advertisements, religious posters and educational supplements. I have also been working with found objects, but more often than not the utilization of these in an installative environment is purely an exploration of materials and dimensions. Conceptual art has ironically become an excuse for many to take liberties with various aspects of their artistic practice, ranging from stylization and minimalist approaches to complex concepts, to purely formal slants. Though my sensibility can never entirely shift to such methods, my gradual want to investigate forms and elements of design led me in the direction of my Technology and Mechanical series of works. While the wider

Gradually my visuals have developed in ways where my formal explorations have themselves become conceptual premises, referring to and sometimes appropriating images from popular culture like newspapers and magazines, advertisements, religious posters and educational supplements. I have also been working with found objects, but more often than not the utilization of these in an installative environment is purely an exploration of materials and dimensions. Conceptual art has ironically become an excuse for many to take liberties with various aspects of their artistic practice, ranging from stylization and minimalist approaches to complex concepts, to purely formal slants. Though my sensibility can never entirely shift to such methods, my gradual want to investigate forms and elements of design led me in the direction of my Technology and Mechanical series of works. While the wider context remains the same, I paired my linear explorations of forms with the idea of technology and the ready-made, placing both in discord with a middle-class household.

My practice, every drawing I make in some sense or another, has had its root directly or indirectly in my life and my experiences of being born and brought up in a middle-class Sindhi family. Confronted with constant expectations, personal and familiar aspirations, sensibilities and concerns that are in-built in my ways of thinking as well, the time I spent in the Faculty of Fine Arts, MSU, Baroda brought me face to face with the dilemma of being part of both a conservative middle-class social structure as well as the progressive and liberal environment of an art school. Stemming from this, over the past few years, ‘middle-class’ has become an adjective for my process, and my choice of mediums and forms; observed through ‘middle-class eyes’ and working around a kitschy and borderline garish sensibility to portray the subject. Humour and double meanings are inherent, but most often the light-hearted portrayal is laced with the constant reservation and doubt I have about my own life decisions. The use of text both found and written by me, as well as the utilization of a ‘peculiar’ and questionable aesthetic also becomes a route to question the notion of the ‘good’; ‘misspellings and inconsistent conjugation’ positioning me right at the knife’s edge between two worlds. 

The series of drawings done in reference to the Modern Mother, Middle Class and Ideal Boy are all done during my Masters in MSU Baroda, each taking off from first-hand experiences. The first explores the paradox of a ‘modern’ mother in a setting that is clearly still holding on to its conservative roots. From personal trainers to fashion shows in their children’s schools (Folder 1, D/B), the series explores the myth of so-called modernity, positioning it in dialogue with Richard Hamilton’s first ever Pop Art work through the tongue and cheek appropriation of his title – ‘Just What Makes Today’s Mothers So Different, So Appealing’.

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