North London art collection bringing Indian, Sri Lankan and Pakistani contemporary art to Hampstead
Perhaps one of the most striking canvases ever produced by Raman and acquired by the collection, there is mania to the decorative patterning that is unlike anything we have seen before.
Two Sisters (2014) By G. Raman
In ‘Pink Soul Island’ (2009), Puthoor uses a wide palette and a subtly symmetrical composition to depict an alternate version of a city skyline like that of Manhattan or Mumbai. Structures have bird heads at their peak, reminiscent of totem poles and other tribal imagery (a common motif in his work) though have a futuristic character too.
Pink Soul Island (2009) By Pradeep Puthoor
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The third large 45 x 45 inch canvas to go through the gallery collection. A classic image if ever there was one.
Village (2015) By P. Jayakani
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 ‘Across Lines’ (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 water’s angular surface, two creatures of air and water, normally predator and prey, normally separated by their different worlds.
Across Lines (2005) By Aparajithan Adimoolam
The love story of Krishna and Radha is lyrically portrayed by Senathipathi. The artist utlises tribal styles and symbols with bright acrylic paint (contrasted with black ink wash) to create a feast for the eye.
Krishna and Radha (2006) By M. Senathipathi
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
A personal favourite of the Director, this work stands out in as a particularly ferocious image of the world in disarray and sunken under the sea. Fire breathes from the waters as we look fatefully at the state of our world.
Under the Sea By P. Jayakani
This painting is a good example of the artist's focus on women in Sri Lanka. A fisherwoman takes the foreground spotlight for the audience whilst the fisherman is made into a background player.
Fisherwoman (2007) By Iromie Wijewardena
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