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North London art collection bringing Indian, Sri Lankan and Pakistani contemporary art to Hampstead

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A returning work to the collection, this piece shows a stunning underwater by the inimitable P. Jayakani. What would our world be like if enjoyed by fish at the bottom of the ocean?
Untitled II (2007) By P. Jayakani
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Breakfast before Wedding (2008) By S. Ravi Shankar
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Kudallur may describe this as a 'red' but it is clear that the abstract painting is so much more.
Untitled II (Red abstract) (2007) By Achuthan Kudallur
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Aparajithan invokes a graphic, almost poster-like quality to his art, his content often having a simplicity and immediacy. He deliberately resists the temptation to be too painterly in works such as ÔAcross LinesÕ (2005), concentrating on profundity through simplicity: here a bird flies awkwardly straight downwards to meet with its beak an approaching fish swimming straight upwards. They meet at the waterÕs angular surface, two creatures of air and water, normally predator and prey, normally separated by their different worlds.
Across Lines (2005) By Aparajithan Adimoolam
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Woman I & II are conceived as a pair though painted as separate works. Facing in different directions, the women is a classic depiction of a Selvaraj lady: her hair curly, buxom-breasted, elongated eye slits and adorned with jewellery. The works have an ethereal quality in the way the sitters merge and emerge from the background.
Woman I (2008) By A. Selvaraj
One of only two tempera paintings in The Noble Sage Collection, this stands out as a representation of Indian history as well as an important work in South Indian art history.
Village Women (1947) By S. Dhanapal
The wide smile of the performer is made ludicrous by his nudity. His walk backwards on his hands and feet likewise looks slapstick, a parody of the seriousness of modern life. Chowdhury characters such as these are fascinating as they are rarely placed in a distinct surrounding. It is as if they could be everywhere and anywhere in our world. Works such as this seemingly ridiculing our human drama have a dark core inspired by the traumatic experiences of partition, dislocation and isolation.
Acrobat (2002) By Jogen Chowdhury