PS Nandhan with the Korean artists at Cholamandal Artists Village
| Photo Credit: particular association
The quietude of the common-or-garden art gallery at InKo Centre compliments what occupies its partitions. A motley assortment of canvases, pictures and paper embodying various feelings, themes and tales are on show, all with an invite to look inward. Imagine a pristine dawn on the Geumgang mountain vary in North Korea handpainted throughout a paper fan, or a verdant inexperienced hill vary on a canvas that units a distinction, bringing the main focus again to extra acquainted terrain, by R Solairaj. Or a few material scrolls that charts out a chook perched on the branches of maybe a cherry blossom tree in advantageous Korean ink with spectacular detailing.
Back in Cholamandal Artists Village, the exact same unlikely group of artists are busy with new canvases — concepts are exchanged in an artists’ camp, as onlookers collect, to create collaborative work. The veterans of the Madras Art Movement shake arms with modern artists from throughout Korea. Here, we are able to see artist PS Nandhan stooped over a small paper canvas lending ending touches to what appears to be two figures in movement, whereas a Korean counterpart SoonBeom Kwo rigorously chisels on a mass of marble.
One of the artworks on show in Chennai
| Photo Credit:
particular association
The art change was seen as a way to provoke a cultural dialogue between the 2 nations. For this, 15 artists from Pyeongchang, Gangwon-do and 15 from Chennai have been chosen , says Soonyoung Yang from Pyeonchang ARTccc, curator of the Korean leg.
“Tamil Nadu was a place where I felt the same nostalgia that I have for Pyeongchang (Korea) where I grew up. What struck me most is their kindness. And I thought that the living environment here was similar to the environment I lived in when I was young. Although it was an extremely personal experience, it felt like I had found home ,” says Soonyoung who has visited Tamil Nadu eight occasions. It is on one in all these journeys that she met Gita Hudson, when she was curator at DakshinaChitra.
All the work on show at InKo Centre are eight-inch, small format canvases. Soonyoung sees this change as one thing greater than only a liaison. “It’s also about getting to know each other. We strive to respect each other more and make each other’s culture more valuable.”
Gita Hudson, curator of the Indian leg, says, “Over the two days that they were at Cholamandal Artists Village, the eight artists who had come thoroughly enjoyed the institution, considering its legacy. The museum, galleries and the space led gave them an idea of what the institution stands for.”
Some of the Korean artists on the camp
| Photo Credit:
particular association
Everything had to be noticed visually since there was a language barrier. Artists, over the course of the camp, invited guests to work, and even meddle round with some canvases-in-the-making. Veteran calligraphy artist Junho Kim made six calligraphy scrolls on the Cholamandal camp. Some uncommon mediums additionally made their look on the camp — think about, paper cups held along with paper clips to create a what looks like a meticulous net.
“It was a learning experience for us, since both groups are not familiar with each others’ mediums. The Korean ink and rice paper were interesting mediums to experiment with,” says Gita.
The show at InKo Centre can be on view until November 10. Artworks from the camp can be on show on the Indigo and Labernum galleries at Cholamandal Artists Village until October 21.
