Sourav Roy

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Reanimating Ganesh Pyne’s younger days in the arts

The ongoing exhibition at Akar Prakar Kolkata is divided across two spaces. The smaller, closed space has fifteen frames from a stop-motion animation film while the large, airy space, has ten landscapes meant to be used as backgrounds for different animation projects. These twenty five works are but a few leaves from the two decades (1959-1978) of day-long back-breaking toil of a younger Ganesh Pyne (b. 1937), freshly out of Government College of Art & Craft (Diploma in Drawing & Painting) employed at Mandar Studio, 209 Cornwallis Street (now Bidhan Sarani). Only this much is absolutely cer... [more]
Posted by Sourav Roy on 2/18

On upcoming Kochi-Muziris Students' Biennale 2016, Free Press Journal, July 19. 2016

Part 1: Part 2: [more]
Posted by Sourav Roy on 8/24/16

Transformation II by Chalchitra Academy Exhibition Text (Ganges Art, Kolkata, August 19-21, 2016)

EXHIBITION TEXT Transformation II by Chalchitra Academy 31 artists. 19 of them ‘contemporary’, 12 ‘traditional’. This gathering of artmakers which include fine art degree holding artists, professional illustrators, a print collective, self-taught art object-makers, family-trained traditional art and ritual object makers, a 3D street artist, a performance artist and many more whose practice can’t be neatly categorised, is contrary to contemporary exhibition trends to say the least. This kind of variety remains kosher only in much grander scale these days,... [more]
Posted by Sourav Roy on 8/19/16

কনটেম্পোরারি শিল্পে ট্র্যাডিশনাল : কিছু গোড়ায় গলদের সত্যি গল্প

কনটেম্পোরারি শিল্পে ট্র্যাডিশনাল শিল্পের প্রভাব বা উপস্থিতিকে আলোচনার বিষয় করে তুলতে গেলে প্রথমেই ধরে নিতে হবে যে এই দুটো জিনিস একেবারেই আলাদা। সাপ আর নেউলের মত আলাদা না হলেও আম আর আমড়ার মত আলাদা তো বটেই। কনটেম্পোরারি আর ট্র্যাডিশনাল শিল্পের এই বৈপরীত্য হয়তো সুধীজনের কাছে খুবই স্বতঃসিদ্ধ মনে হতে পারে এবং এই নিয়ে লেবু কচলানোকে আহাম্মকির নামান্তর বলে মনে হওয়াও বিচিত্র নয়। কিন্তু আজ যা স্বতঃসিদ্ধ, তা একদিনে স্বতঃসিদ্ধ হয়ে ওঠেনি। ভগবান যখন দশচক্রে ভূত হয়ে ওঠেন, তখন ভয়ে দৌড়ে পালানোটা উপস্থিতবুদ্ধির পরিচায়ক হতে পারে, কিন্তু সূক্ষবুদ্ধির পরিচায়ক হবে পিছন ফিরে ঐ দশটি চক্রকে খতিয়ে দেখা। কনটেম্পোরারি ও ট্র... [more]
Posted by Sourav Roy on 7/13/15

Catalogue Text: Art for Young Collectors III, 2014: Galerie Mirchandani + Steinruecke, Mumbai “In a wider sense, seepage can be conceived as those acts that ooze through the pores of the outer surfaces of structures into available pores within the structure, and result in a weakening of the structure itself... So the encroacher redefines the city, even as she needs the city to survive. The trespasser alters the border by crossing it, rendering it meaningless and yet making it present everywhere— even in the heart of the capital city—so that every citizen becomes a suspect alien and the compact of citiz... [more]
Posted by Sourav Roy on 6/8/14
Posted by Sourav Roy on 5/8/14

The Google Art Project Experiment: Groping Around in Gigapixel Land [more]
Posted by Sourav Roy on 2/22/14

The ways of being at home: One hundred and seven examples

For Indians, especially the Bengali, the relationship with the British could be likened to the kind grown-ups have with their part-benevolent, part-abusive fathers. Some of the wounds seem to have healed, but when you lift the scab, the pink still has touches of red. Over time, you realise that you are looking forward to that scar. It would be an inheritance, like your genes. Today, we think twice before calling any city our mother, especially the massive, merciless metropoleis, yet the term in original Greek means the first, "mother city" of a state, that is, the city wh... [more]
Posted by Sourav Roy on 1/12/14

Documentary 'Art of Jamini Roy' directed by Debabrata Roy

The director has found parts of my paper on Jamini Roy (see previous blog entries) relevant enough to be used in the voiceover. As a result of this, I have got my first (and perhaps only) film credit. You can read about the film here: see the trailer here: purchase a DVD here: [more]
Posted by Sourav Roy on 1/9/14

“In France, I remembered food smells from my childhood in Tripura.” In conversation with Jayashree Chakravarty

Published in Art India Magazine, Volume XVIII Issue I Quarter I 2013, Cover Story: Colloquies Over the years, Jayashree Chakravarty (b.1956) has created paintings that look like beguiling dream-maps – calligraphic notations, whirling squiggles, layered wave-patterns fill her picture-spaces and produce a charged chromatic environment on large canvases and soaring paper installations. Her last solo show was at Aicon Art Gallery, London, in 2009. Sourav Roy meets her as she prepares for her solo next year. Sourav Roy: ‘Palimpsest’is the first word that comes to my mind when I... [more]
Posted by Sourav Roy on 12/21/13

Be As You Are: In conversation with Vidha Saumya. [more]
Posted by Sourav Roy on 5/29/13

Representation of the third dimension in Jamini Roy's Art

Dissertation for Post Graduate Diploma Course in Modern & Contemporary Indian Art History (1850-2012) Semester 1 [more]
Posted by Sourav Roy on 3/3/13

Origin Analyses of Wassily Kandinsky's Abstraction: Thoughtforms, Synesthesia and Psycho-Aesthetic Theories

Dissertation for Post Graduate Diploma Course in Modern & Contemporary Indian Art History (1850-2012) Semester 2 [more]
Posted by Sourav Roy on 3/3/13

High Tide for a Blue Moon

Review of Ranjini Shettar's first Indian Solo 'High Tide for a Blue Moon' at Dr. Bhau Daji Lad Museum Mumbai From Sat Dec 1, 2012  -  to Sun Feb 17 , 2013 The first time we watched time freeze on celluloid, our hearts stopped - water arrested mid-spill, pieces of crockery frozen mid-shatter and explosions suspended mid-air. This fortnight, prepare to revisit that zen moment with High Tide for a Blue Moon, Ranjani Shettar's first Indian solo show at Dr. Bhau Daji Lad Museum. Working with craftsmen from her studio at Malnad, Karnataka, Ranjani is the mistress of material metamorphoses. He... [more]
Posted by Sourav Roy on 3/2/13

The Shape of Sound

Sourav Roy from Spike Magazine interviews New Zealand artist Shannon Novak about the history of synesthesia and how his practice focuses on the relationship between sound, colour, form, time, and social context     Just what shade of orange is a hemidemisemiquaver? If you could hear a Mondrian, what would it sound like? The works of Shannon Novak, an emerging artist from Auckland, New Zealand will not answer these questions but will raise plenty more, one more fascinating than the next. His work explores the multiple strands that link sound, colour, form, time, and social context. A pia... [more]
Posted by Sourav Roy on 3/2/13