Curated by senior art critic Uma Nair the show straddles the idea of abstraction born from the corollary of the infinitude of forms.
All three artists have international pedagogic journeys and they manifest their learning through a unique sensibility. Rid Burman presents photograms created in the dynamics of dark room drama in Paris. Colour for Burman is about an evocative mood of emotion.After shooting an array of fashion sequences for elite magazines, his eyes rest on abstract moorings that have about them a dense deepness as well as a connectivity of cohesive patterns that define the universe.Colour and context both take on dispersive dimensions when he plays with multiple possibilities in the charting of abstract notes in earth rhymes. Radhika Agrawala who just returned from Art Dubai reframes the prism of nature as a confluence of perception as well as feeling for nature and all that is therein. Her work aims to coax the sublime from the subliminal. Her formations are like evocations of the ancient past touched with futuristic possibilities—perhaps a nod to modernism’s different registers. Her vision of forms is distinctly feminine and privileges a subtle harmony with nature over her mastery of intent, as evidenced by the imperceptible transitions. The third artist Viraag Desai loves having a digital dalliance with the essence of form .His works invite us to open up to a great multiplicity of alternative ideas in sculptural signatures.The works themselves stand alone as hypnotizing, visually pleasing and prompting introspection, but they are activated in a certain context of all art explorations that have come before them, by breaking down binaries. His use of 3D printed resin helps him to fabricate into his work an intricate geometry. His process is scientific because he uses electroplating and oxidation to fabricate forms of ingenious intonations.
Curator Uma Nair states: Memory Leaves is about both metaphors as well as moods of a state of mind during creativity.All three artists have used their art education abroad to define their own journeys. Each one is unique and unpredictable in their offerings. In the sensibility of articulations, we can sense a direct semblance to the lyricism of poetic nuances and fineness of practice as visual artists. In all their compositions we can revisit spatial memories that are translated into different mediums; as a critic I know that for each viewer the experience will be sensorial; because each artist conjures up memories of a not-so-forgotten past into formulations that translate into a visual, contemplative dialogue.We are looking at a visual language that iterates a silence full of ecological echoes.”