works of usha ramachandran
"Art is made noble by the mind producing it." (Michelangelo) ---------- Edward Albee: "All art is useful because it tells us more about consciousness. It should engage us into thinking and re-evaluating, re-examining our values to find out whether the stuff we think we've been believing for 20 years still has any validity. Art's got to help us understand that values change. If we've stopped exploring the possibilities of our mind, then we're asleep, and why not just stay asleep?"
Sunday, January 08, 2012
Monday, November 21, 2011
Saturday, October 15, 2011
Write up in The Hindu on 'Life Flows Like This'.
LIFE & STYLE » METROPLUS
September 21, 2011Simplicity sculpted
PRIYADERSHINI S
Usha Ramachandran's sculptures induce a sense of ‘wow' in the ordinary
At 61, artist Usha Ramachandran says, she thinks and breathes only art. Earlier on, as a homemaker, the duty of raising a family and following her artistic call together was proving to be a difficult proposition. Now with achieving one well she is on her way to finding fulfilment in a vocation she taught herself to grow and bloom. Her exhibition of sculptures, ‘Life Flows Like This', on at Kashi Art Gallery, Fort Kochi, is a delightful depiction of everyday life.
Instant connect
Life that casts itself around quotidian images like that of the cyclist, the fish hawker, angler, a namboothiri priest, a rainy day and such touches and connects with any and every viewer. There's hardly the need to stoke one's intellectual faculties but what is ruffled gently and joyfully is your heart, as the viewer rejoices in the simplicity of daily life, in the beauty of commonality that enjoins us in a single thread of humanity. Usha's show uplifts in the first view.
The ordinariness of a washerwoman in action is breathtakingly caught in ‘The Little Laundress'. The movement of the cloth caught mid air is dexterously cast in bronze.
In ‘On The Move', Usha has captured the hurry burry of walkers rushing to catch the tube. “I was in London and was struck by the rush that people were caught in. I noted the image and cast it when I returned.” ‘Back Home' captures the joyous expression of the returnee just as in the ‘Cliffhanger', the tension on the visage of the men is effectively caught.
Usha who lives in Thiruavanthapuram is originally from Thalassery. Coming from an army background she says that the itinerant living in the services aroused her curiosity to different aspects of life and art. It was only after her filial duties done that she took up painting and sculpting seriously. “I am a self taught artist,” she says but credits V. Satheesan, an art teacher, for teaching her the “nitty gritty” of sculpting.
The technique used by her is to make the model out of bees wax, castor oil and “kundhirikkam” (incense) and then cast it in bronze, with a gilded finish. Usha who paints too has now moved into sculpting wood. And though she enjoys working in both mediums it is sculpting that she finds more challenging. And if on a certain day she does not paint or sculpt she feels that her day is lost.
The show is on till the end of September and the prices range from Rs.25,000- 60,000.
Saturday, September 24, 2011
Monday, September 12, 2011
Onam 2011
Sunday, September 11, 2011
Tuesday, June 28, 2011
Bronze Age at Bangalore 13 June to 16 June ,Chithrakala Parishat .
Review in Deccan herald of Bronze age at Bangalore-By Marta Jakimowicz.
http://www.deccanherald.com/content/170119/art-review.html
Usha Ramachandran, who recently held her “Bronze Age” exhibition at the Karnataka Chitrakala Parishath (June 13 to 16), may be self-taught but her work appears quite professional in its technical skill and in terms of the chosen motifs, even though the latter come through as sincere but rather conventional. The figurines represent the artist’s warm impressions from around the rustic Kerala environment where she grew up. Ramachandran indulgently and empathically looks at the energy of a little girl who with all seriousness is washing clothes at a river rock, admires a playful boy cyclist and a couple of anglers. Form-wise, the statues indicate a not always entirely reconcile blend intimately experienced feeling and a wish to make a striking impact. The aesthetic sources of reference here belong to the kind of indigenised Modernist mode that has long been prevalent on the popular level. Simplified, fairly stylised volumes are made somewhat angular and roughly textured for expressiveness, while spectacular effects are searched for in long, curved linear motifs that almost detach themselves dynamically from the mass. If such instances tend toward mannerism, the sculptor is more successful when she focuses on compact shapes approached with feeling, as happens in the images of a mother with her baby. The largish canvases displayed together with the bronzes were more amateurish in comparison. Whether abstract with hints at mood or alluding to cosmic trajectories, they were preoccupied with design and perhaps hastily brushed. | |




