Only two weeks after the capital recorded its coldest March in a decade, summer has set in full swing. For everyone who has been here to witness the transition, it was little short of drastic, anything but balanced, the only thread holding it together being made of rhythmically falling leaves the strew the roads. As this time in Delhi, when almost all of the city is grappling, trying to find their footing, the show ‘Balance’ seems strangely well placed.
The exhibition – a coming together of five “corporate soldiers” trying to balance corporate commitments and personal passions, is an exploration of the connection of life with the spirit, the mortal with the immortal, the self with the Universe, through paintings and photography.
Leading into the exhibition is a photograph titled ‘Balance’, by Sarasij Dasgupta - a warm shot of a little boy slack lining, as seen from the ground. In many ways the photograph is a perfect way to start the show, as it is the entire synopsis it needs.
In itself, the show is a great example of what contemporary art is, and what it is capable of. Kajal Chakrabarty’s vibrant canvases while seemingly simple nature portraits are a great insight into the man vs. wild theme, and Partho Sengupta’s literary journey into the lives of the women he has painted on his canvas are a great blend of stories, texture, form and colour.
The “balance” is even maintained in the explicit flow that the choice of placement of artworks maintain – colour followed by black and white. Manoj Deb’s collection of works – his fascination with the eyes, is little short of strokes of mastery. He sure is someone to watch out for.
But perhaps the perfect balance is hit by the rather discreet collection of watercolours by Sachindeep Singh. In the mix of contemporary experiments, Singh’s black and white landscapes added just the relieving picturesque touch that would let all the William Henry Davies’ escape the thinking world, and just “stand and stare”.
By the end of it all, the exhibition delivers just what it says – “balance”.