Your Form is My Creation 2015

You

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Bhaskar handePaintings | Lithographs | sculptures

Past ExhibitionsKAMDHENU a wish fulfilling cow – sculptures and digital prints

TIME WILL TELL – Emerging Forms and Expres-

sions of Young Contemporaries

OWN AN ORIGINAL – drawings and paintings in a

postcard format

A Tribute to MASTERPIECES – history revisited

DEMOCRACY – possibilities and impossibilities

curated by Amit Mukhopadhyay

THE ALCHEMIST – a monographic exhibition

CREATING IMPRESSIONS – a group exhibition of

graphics

UNSEEN PASSAGES – from the studios of emerg-

ing talent

SUBJECTIVE IDIOMS – a display of surreal and

still life paintings

Current ExhibitionYOUR FORM IS MY CREATION – Lithographs|Sculptures|Paintings by Bhaskar Hande

Forthcoming ExhibitionsLAMENT- pop-up MAHABHARATA – works of Sankha Banerjee curated by Amit Mukhopadhyay - Kathryn Myers and Gopika Nath

Cover Deity | 1992 | Metal | H128xW20xL86cm Square Roots| 2009 | Acrylic on Canvas | 120x90 cm

Your Form is mY Creation monographic exhibition | Paintings | Lithographs | sculptures

by

Bhaskar hande

‘the language of art is formal... it is also opaque... it is a

language of qualitative cognition rather than of intellectual comprehension...’

– J. Swaminathan

To me Bhaskar Hande’s visual vocabulary reaffirms this thought.

When I first saw Bhaskar Hande’s work, I was struck by the sheer lumi-

nosity and tonal quality of his palette, by the symbolic imagery of his black-and-

white lithographs and the simplicity of his sculptural forms.

Bhaskar Hande makes graphics, paintings, sculptures and works in other

media as well. He is a Dutch national of Indian origin and comes across as a highly

intuitive and philosophical personality. After a stint at J. J. School of Art in Mum-

bai, he left for the Netherlands to pursue Liberal Arts at a university there. His

training in diverse streams of Art and an inherent leaning towards poetry made

him the artist that he is. He is particularly drawn to the abhangs (a form of devo-

tional poetry sung in praise of god Vitthal) of 17th- century mystic Sant Tukaram

which also find expression in his visual language. His art seems to amalgamate the

mathematical and the metaphysical.

In Bhaskar Hande’s repertoire spanning 32 years I can see evolution from

a painted surface involved in an intense exploration of material to a surface

saturated with pure pigments; a transition from an aggression of line and colour

to pulsating stillness . The space continues to be imbued with strong emotional

content and lends the resultant visual a hypnotic effect making for a transcen-

dental experience. On display in this exhibition will be his lithographs, paintings

and sculptures.

Whereas the lithographs and sculptures are a visual tribute to Sant Tu-

karam and the Bhakti movement, the paintings draw inspiration from the Sufi and

Varkari tradition of Bulleh Shah and Namdev.

Bhaskar Hande’s earlier work has its roots in the ideologies of spiritual

thinkers and poets. His later paintings, like the current exhibits, represent con-

temporary influences. The transforming environment, be it social, cultural or

geographical, takes on the shape of geometric forms and merging colours on his

canvases.

Art and Aesthetic is privileged to showcase the work of Bhaskar Hande.

- Anchal Shinde

Director

04

Tukaram - 2222 I 1992 | Edition 19 | Litho l 24x31 cm | Paper size:38x56cm

DREAM INSIDE A DREAM

‘an earthen pot full of nectar’ and ‘a

gold vessel full of wine’. think a while and decide

what will you opt for.

- A Marathi abhang of Sant Tukaram

It would be futile to look for Western ori-

gins in the abstract colours and shapes of Bhaskar

Hande (born in Umbraj, Maharashtra, in 1957) –

painter, sculptor, poet, filmmaker, photographer

and philosopher who’s been living in The Hague,

Holland, for a number of years. The abhangs of

Marathi mystic saint Tukaram, born more than 400

years ago, are integral to his abstracts. What is

art after all? True art involves giving up the gold

vessel brimful of wine and savouring the drops of

nectar from an earthen vessel. Tukaram exhorts

one “to see the inner light” to attain the peace

of mind and we can see that magical glow in

Bhaskar’s abstracts. Tukaram says that when the

mind disintegrates one needs patience to bring it

back to health and achieve well-being. This pa-

tience is the hallmark of Bhaskar Hande’s shapes

and strokes.

Hande spent 17 years of his life in his vil-

lage, then spent nine years in Bombay as a cinema

billboard painter, student of Applied Art at J. J.

School and as a designer with an advertising firm.

In 1982 he moved to the Netherlands – the land of

masters like Rembrandt, Vermeer, Van Gogh and

Mondrian. For the next two years he studied at the

Royal Academy of Visual Arts there. Thus, he is one

Indian artist who has lived in Holland for 32 years.

But his link with his village, his state, his city

never snapped. Rather, over the last few years this

relationship has become deeper, and more lively

and meaningful.

Recently, Holland was listed among the 10

countries with the best quality of life. In Octo-

ber 2008 I had an opportunity to stay at Hande’s

art centre in The Hague called Artimediair for a

fortnight and spent considerable quality time with

his paintings. The centre has been shut down since

2012. But during my stay there I was often amazed

by the atmosphere in the prostitutes’ lane right

below the centre (a lane where one could observe

them beckoning one with their lascivious poses

from magical, glass-lined houses). Right opposite

Artimediair stood the house of the great philoso-

pher Spinoza. As part of its policy, the Dutch gov-

ernment was promoting the setting up of cultural

centres around the lanes occupied by women of

pleasure.

Coming back to his village from this other

world and joining a 20-day journey on foot to dis-

cover the artist within him was a major challenge

for Hande. The great journey called Palkhisohala,

from Sant Tukaram’s village of Dehu to Pandhar-

pur, was the biggest challenge in the development

of his art. Many other artists were also part of

this journey. And not only city artists but young

artists from village schools as well. The artist’s

agenda included unearthing the hidden secrets of

the Marathi culture. He also realized the secret

of keeping the mind and body fit: “Walking keeps

the mind fresh and the body fit.” For Bhaskar this

journey had become even bigger – the journey to

India from Holland to Turkey via Georgia, Iran and

Pakistan. In 2008 he joined some Dutch artists on

a truck as part of the project ‘Show Your Hope’

which had artists from 86 countries out to trans-

form ‘Hope’ into a big dream.

Tukaram has written: “I was sleeping

when Namdeo and Vitthal stepped into my dream.

‘Your job is to make poems. Stop wasting time,’

Namdeo said. Vitthal gave me the measure and

gently aroused me from a dream inside a dream.”

All of Bhaskar’s paintings, drawings,

sculptures, prints, videos, photography and poetry

are marked by a sort of ‘dream inside a dream’.

There is the inner light of meditation, the strict

discipline of art, and an attempt to understand

the real dharma of art while proceeding on a

grand journey on foot. His philosophy has been:

Art is a place for unlimited experimentation.

Many Indian artists have remained in

focus whether they settled down in the West or

returned home. But Bhaskar Hande is courteous,

modest and a poet at heart and I am sure this

show will emphatically underline the significance

of his art.

- Vinod BhardWaJ, Curator -Your Form is my Creation

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Long ago I once focused on discovering how I had reached the

chamber of three dimensions, a chamber with a lot of objects covering the wall,

floating off the ground and hanging from the ceiling. Some of those objects shined

while others were rather dusty.

What glimmered looked like a bunch of butterflies resting on an object,

soaking its warmth. I was reluctant to touch those surfaces.

But the dust might have captured my sense of touch. I was warned by my

other senses not to have contact with those atoms. It was confusing all the way.

Why were my senses reacting so weirdly or shall I say oddly?

I do not know. But I keep touching those objects from time to time. Those

atoms fused and got blurred. The chamber had been built to contain many of the

objects created in three dimensions. I got lost in it and forgot to come out.

Since then my senses have developed an intuition of the third dimension

– knowledge of the third kind. It is quite helpful in guiding me on the path in the

chamber.

Where is all this settling down within me? In my soul or between my

senses. I ask myself ‘where’ while walking. It’s a stretch that vanishes into an opti-

cal root; but when someone walks on it, it never meets the end. Just like the trail

of life, where we can touch a person’s heart but never get coalesced. Or, let us say,

get entwined within our senses and get lost again afterwards.

I speak of the knowledge of the third kind as a consequence of my spiritual

strength. My soul still nestles in the self-built castle of the fine arts; amusing itself

by owning not a chamber but a whole castle!

Being a student of liberal arts, I find the fine arts section as the cluster of

so-called chambers and sub-chambers; some hidden underneath like Dutch canal

houses with their striking gables and dual entrances.

Sometimes, while moving in space, time and history, grammar tells me the

story of languages while science simultaneously puts innovations in perspective.

In this world of multifarious dimensions, my intellect absorbs certain

points as if picking a lock, and comes face to face with the soul inside that castle.

Sometimes that’s quite a surprise…

Somewhere in and around are those secret meeting points where men, so

far, have failed to find answers to ‘where’ and ‘why’.

Int

uIt

Ive

Kn

ow

led

ge:

Kno

wle

dge

of t

he t

hird

kin

d

With the aid of material like rubber, wood, diamonds or even dust, I

have been seeing this as part of a unique form.

By mode, like a method or tonality in music, I am embedded in invisible

energy.

By attribute, I am a non-existent creation, complementary to God,

though I am likewise the soul of sense and the consciousness of mind.

Since my birth I have never felt obliged to thank the so-called God for

showing me His universe. Under the spell of my ego I have spent my life creating

my own universe in the third dimension.

Senses, driven by feelings of a lifetime of intuition, pump air into the

bubble of my ego, which rests within the body of every man. Breath keeps me

awake and thereby my pliant flesh gets strength to create a stasis position of

form.

The universe is filled with concepts and ideas of various kinds, and the

artist-sculptor tries to understand himself by reflecting over his ideas. His materi-

al and the understanding of physical and psychic worlds make the artist stronger.

An understanding of literature and history provides references. The

perspective of time sends him a signal. An artist can go on trying to understand

the universe, planets, the atmosphere, the environment, his surroundings and

his traditions and culture. Sometimes he ignores the environment and goes out

to find something else. He tries to make another platform, come up with another

innovative concept with his ideas, or go into abstract to think it over one more

time.

The most enlightening chamber of the castle is the one devoted to the

samadhi of a yogi. Samadhi does not mean the state just after death like mum-

mies in an Egyptian pyramid. The Sanjeevan Samadhi is Undifferentiated Cogni-

tion - the state of the continuing journey of the soul. This state encompasses a

range of the highest spiritual achievements up to the merger with the Primordial

Consciousness and the Absolute. It is the ultimate art of yoga – its expression and

meaning.

My soul tries to understand the conscience.The castle is constructed

with the subjects of Fine and Liberal Arts. Talent, skills and art are the residents

within. The mind and senses are the guardians of the curatorial mind for holding

exhibitions in the chambers.

Bhaskar Hande, The Hague, NL.

42 43Philosophy | 2013 | Metal | H23xW44xL78 cm

42 43

Deity | 1992 | Metal | H128xW20xL86cm

44 45 Devotee | 1992 | Metal | H73xW20xL61cm

46 47Deity Male-female | 1992 | Metal | H115xW22xL130 cm

48 49

duality | 2012 | metal h73xW91xL91cm

50 51

Yogi|2012 | Metal | H61xW60xL60cm

52 53 Philosopher | 2013 | Metal | H76xW90xL30cm

54 55

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.

As a visual medium of creative expression and communication, a language of qualitative cognition, art takes on an even more significant role in the current sullied times. It is a means to stimulate and rejuvenate ‘life’ through the purity of its innovative expression and splendour of its visual experience.

Compelled by these sentiments as well as to explore artistic values, ‘Art and Aesthetic’, an art gallery based in Lado Sarai, New Delhi, started its journey of promotional initiatives in 2012. Providing both domestic and international forum to art and its practices, it strives to reach out to wider audiences and form fresh and meaningful connections across globe.

With a clear vision, a focused agenda and an honest commitment to its artists and viewers, ‘Art and Aesthetic’ aims to introduce programmes to facilitate an inspiring and creative environment that provokes public dialogue through contem-porary art – making

The gallery has had an enriching exposure past two years through participa-tion in art fairs in Berlin, Mumbai and nu-merous solo and group shows in New Delhi. Going forward it will present interactive programmes that will provide an ideal opportunity for intensive and resourceful sessions on innovative thinking and new perspectives on world art.

We are here to celebrate con-temporary art and look forward to your participation!

Back Cover | Philosophy | 2013 | Metal | H23xW44xL78 cm

Your Form is My Creation 2015

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