Sheela Gowda is a contemporary artist living and working in Bangalore. 2008 ‘Fire Walkers: Contemporary Artists from India and South Asia’, organized in collaboration with South Asian Women's Creative Collective (SAWACC), Stefan Stux Gallery, New York. Sheela Gowda (Kannada: ಶೀಲಾ ಗೌಡ, born 1957 in Bhadravati, India) is a contemporary artist living and working in Bangalore. Master of Arts in Painting, Royal College of Art, London, Post-Diploma in Painting, Vishwabharati University, Santiniketan, India, One year non-collegiate study under Prof. K.G. Sheela Gowda, Darkroom, 2006, tar drums, tar drum sheets, asphalt, mirrors. Remains [Restos] Del 25 de octubre 2019 al 1 de marzo 2020. For help Sheela Gowda was born in 1957 in Karnataka's Bhadravati village. Sheela Gowda Biography. In And Tell Him of My Pain (1998/2001/2007), Gowda connects themes of violence to gender politics by threading 360-foot-long strings through bundles of needles, amassing an elegant but ominous network of serpentine, blood red lines. Courtesy: GALLERYSKE, Bangalore. Want to know whats going on in the art world? Please contact Saffronart for more details. Yards of red thread with needles were suspended from the ceiling announcing at once, the erogenous and the domestic. Emma Crichton-Miller. It might seem like a stretch, but to appreciate how Sheela Gowda’s paintings, sculptures and installations cleverly point to the politics of material, let’s take a step back. Trained as a painter, first in Ken School of Art Bangalore, then under the guidance of K.G.Subramanyam and later in Shantiniketan and London, Gowda’s initial art practice was limited to oil on canvas. Password * After making a marked departure from canvas, Sheela Gowda experimented with sculpture for a brief period till she found her true calling in installations. With this work Sheela explores the philosophical by juxtaposing the grim exterior with the seemingly infinite interior. The 2006 installation Darkroom is perhaps Sheela’s most famous work, widely exhibited in India and abroad. Her art is an intricate process of merging visual communication, concepts and modes of perception. Sheela assembled tar drums and metal sheets to replicate the make shift houses fashioned by the migrant road workers. Sheela uses indigenous elements with potent meanings. Sheela Gowda is an artist living and working in Bangalore, India. In the 1990s Gowda moved from making paintings to fashioning more conceptual sculptural offerings. She began painting in her early career but started to make three-dimensional work in the 1990s in reaction to the rapid progress of economic and cultural development in India. The amount collected from these paintings were donated as flood relief fund for the people in Chennai. Sheela convincingly articulates the raison d’être behind her choice of these materials. (© Sheela Gowda) Gowda largely gave up painting when she returned to India in the 1990s. If you have any other questions, please contact us. She studied painting at Ken School of Art, Bangalore, India (1979), pursued a postgraduate diploma at Visva-Bharati University, Santiniketan, India (1982), and earned an MA in painting from the Royal College of Art, London (1986). The Sculpture show 2016 open on 10th Aug at Art Alive Gallery, New Delhi, India. For her sprawling installations, Gowda uses distinctive materials from her country whose nature, colors, and scents endow her works with a narrative as well as metaphorical force. In the Indian society, cow dung has a dual identity, with a religious function along with its material usage. In And Tell Him of My Pain (1998, 2001 and 2007), the artist Sheela Gowda pulled around 250 metres of thread through the eyes of 100 sewing needles, soaking and binding them together with glue and blood red pigment. Sheela Gowda is a contemporary artist living and working in Bangalore. Gowda has exhibited her works widely, in galleries in India's major cities as well as in Schaffhausen, Switzerland, Johannesburg, South Africa in 1994 and in New York in 1996. with buying through Saffronart please click here. The intrinsic value of art is honored by the artist. The tumultuous social milieu, the right wing political fanaticism, and the consequential increase in religious brutality had copious influence on the sensibilities of the artist. Sheela Gowda, Gallant Hearts, 1996, cowdung, pigment, string, 300 x 37.5 x 20 cm approx, Works are an objective reflection of the civil life, showing an acute observation. Most of Gowda's work seems to bear the impress of her experiences since the eighties as well as her life abroad. It is easy to misinterpret her works as dissections of the contemporary social order. This is not an attempt to make any sociological study of the life of the impoverished labour class, but instead posits a different view. The 90s had a profound influence on Sheela’s art exercise. Her artistic education commenced with a diploma in painting from the Ken School of Art in Bangalore; she followed this grounding with stints in Baroda's M.S. 15 April 2019. For nearly 25 years, Sheela Gowda has been lauded for her use of agrarian materials, such as cow dung and jute, sourced from her native India, as well as thread and human hair. 2008 'Santhal Family: Positions Around an Indian Sculpture', in association with Bodhi Art, and supported by the British Council, Kunststiftung NRW and the Provence of Antwerp at Museum of Contemporary Art Antwerp (MuKHA), Belgium, 2006 ‘Play/Lila: Contemporary Miniatures and New Art from South Asia’, Melbourne, 2006 ‘With Love’, organized by Gallery Ske and Tilton Gallery at Miami Design District, 2005 World Information City – Bangalore, Institute of New Culture Technologies, Vienna/Alternative Law Forum, Bangalore, 2005 ‘Indian Summer: Contemporary Art from India’, Paris, France, 2004 ‘Cabin Baggage’, Project by Open Circle at the World Social Forum in Mumbai, 2004 ‘Subtlety-Minimally’, Lalit Kala Akademi, New Delhi, 2004 ‘Contemporary Art from India’, Thomas Erben Gallery, New York, 2004 ‘Iconography in Transient Times’, India Habitat Centre, New Delhi, 2003 ‘Sites of Recurrence I’, Dakshina Chitra, Chennai, 2003 ‘Sites of Recurrence II’, Boras Museum, Sweden. 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