Time, space, memories
The artist experiences self as flowing through a past, present, and future whereas time, much like space, is a dimension. The perception of time embodies a fundamental paradox that reveals a profound limitation in our ability to ever get to the real essence of things.
The canvas/sculpture (like the virtual) is a spatial world, often an extension of the phenomenal world. Time and space are by themselves imperceptible, their existence inferred from events and memories; and then there are the artistic “spots” of time” or epiphanies where time actually exists. The paradox of space-time personal and collective memories, placed in dia-chronically as it were in a then-now dialectic, form the underlying thread of the show — Time, Space and Memories at Exhibit 320.
Akash Gaur, one of the artists on display in his series titled Project — Apocalypse, has interesting sketches interrogating responses elicited in contemplation of apocalypse; responses where time was no longer the comforting familiarity but a destructive other. The responses span a spectrum from the mundane to poignant and emotional, with auto-rickshaw drivers, with material last wishes or a little girl seeking to bury her treasures.
A somewhat similar project has been undertaken by Manik Balmiki and Aditi Tailang where they have tried to map the changing face of Delhi, now and then, through people’s memories. They have juxtaposed an old photograph of a person in a physical architectural space a long time ago, and the same space as it exists now. A photograph of two young, hopeful graduates of National School of Drama about to set out on their quest for fame and glory is set against the entrance door of the same institute, a space that remains the same but the actors in the play of life change with the passage of time.
Pooja Iranna uses sheer architectural spaces in her paintings and sculptures made of staple pin stacks as metaphors for presence, expressions, mind and emotions.
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