Nationality Indian Known for Painting | Name Ratnadeep Adivrekar Role Artist | |
Born 13 November 1974 (age 49) ( 1974-11-13 ) Mumbai Education Sir Jamsetjee Jeejebhoy School of Art | ||
Making of “Axis of Secret Histories / All this comes back” Curated by Ratnadeep Adivrekar
Ratnadeep Gopal Adivrerkar (born 13 November 1974 in Mumbai) is a contemporary artist from India. He has had several important solo exhibitions including one at NUS Museum, Singapore, Galerie Sylvia Bernhardt, Germany and Pavillon du Centanarie/Arcelor Mittal, Luxembourg. In 2013, Ratnadeep exhibited at the prestigious Deutsche Oper Berlin a series of works titled 'The Golden Ear- A Tribute to Wagner', based on German Composer Richard Wagner and mainly his epic opera "Der Ring des Nibelungen" (Ring of Nibelungs). The work revolves around Ratnadeep's philosophical interpretation with connection to especially to Indo-Global mythological context with contemporary times. He has participated in many group exhibitions like Pictures of Asia, Larasati, Singapore, 'Indian contemporary art', Chelsea Art College, UK, Uneo Royal Museum, Japan, Ao~rta Project, BBK Kunst Forum, Düsseldorf and Ausstellungshalle Innenhafen, Duisburg, Germany. He has received a number of awards and scholarships. Ratnadeep lives and works in Mumbai, India and Berlin, Germany.
Contents
- Making of Axis of Secret Histories All this comes back Curated by Ratnadeep Adivrekar
- Early life and education
- About Work
- Quotes
- Work
- Solo Exhibitions
- Awards
- References
Early life and education
Ratnadeep Adivrekar was born in 1974 in Mumbai, India. He is the son of artist Gopal S. Adivrekar. He received his BFA in painting with first class in 1997 from the Sir J. J. School of Art in Mumbai.
About Work
Ratnadeep Gopal Adivrekar is an artist whose work defies easy definitions, having experimented with a wide range of styles and subject matter, bringing together metaphors from contradictory or unpredicted sources, both historical and contemporary, by using diverse materials and techniques. In fact Ratnadeep's artistic multiplicity, and his resistance to any form of categorisation, can be seen as the consistent theme in his work. The parts of painting have naturalist approximate based on photographic documentations. When a photograph is painted on canvas, the sense of realness in the images are complicated, while they may retain a high degree of verisimilitude, the loss of its mechanical tie to a specific situation. While our eyes perceive these paintings as photography, conceptually we know they are individual interpretations. Ratnadeep has rejected mechanical processes, preferring to explore the visual effects of mechanical technology by hand. Ratnadeep's paintings have usually used techniques which are both time-consuming and physically demanding. Buried within this elaborate surface sometimes are sheets of manipulated expressive color drips transparent enough and mark making, bringing out the rawness of improvisation. His work refers directly to the enigma of metamorphosis and his imagery whispers to the subconscious coaxing it to the surface. Making us aware of Ratnadeep's beliefs, the richness of his symbolism but yet mysterious eluding the logically understandable things and the depth of his ambitions – which combine to make new resonances.1
Quotes
"My process of working is based on elective creative process. To built my art out of public spheres has been focal point of my work. Memoirs of the unreal city is about the city which is fast growing and overpowering forms catalyst in my work. The images of teeming vastness of the city at one point are crude and banal destined to fade and themselves destined to fade and disintegrate in to obscurity...'" - Ratnadeep Gopal Adivrekar
Work
Ratnadeep's desire to see everything at once is apparent in many of his paintings, perhaps most overtly in the overlay of one image on top of others, as if it were possible not just to see through a particular image but to hold them both in a sort of suspension. In these superimposed, suspended and translucent images the structure of narratives is overt. Each of the images is both there and not-there, as the eye is drawn from one to the other. Ratnadeep's works invite the spectator to consider. His task is to reintroduce their significance into a tension with form – but without allowing the images he uses to fall into utter nostalgia. His work is to help the spectator re-evaluate the power of the static image, its ability to make reference to our histories and its power to reinvoke our thoughts and our participation through small acts of attention. 6From catalogue "Proverbial In(ter)ventions 2009"