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

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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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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
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 danger is clear and evident in this work. Two birds trapped screams out as we view around it the perilous environment they (as have we) have stumbled into.
Carnivorous Plants (2009) By Pradeep Puthoor
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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
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
This is an unusual work by G. Raman. It is rare that he dislocates the head from the body for the sake of patterning the surface and also even rarer that he collects several heads on the same sheet. If we were to take this literally it would have gory repercussions for meaning. However as we know Raman is interested in pattern and surface, we can understand that Raman here is interested in creating harmonious decoration of these characterful heads.
Indian Heads (2006) By G. Raman
The meaning is perhaps obvious: in a land without trees, it is the human that must step up and take on this role of nature’s carer. Gamuz is refreshingly optimistic in her attitude toward man’s misuse of his natural surroundings. More poetic and philosophical than ecological, she remarks that though man has the potential for environmental atrocity, he also has the ‘greatest capacity to care like no other creature on the planet’.
In a Land without Trees II (2006) By Gayatri Gamuz
Many regard Bhaskaran's cat drawings as his signature image. The artist clearly relishes the character, body shape and pose of the animal.
Cat III (2001) By R.B. Bhaskaran
An early work of the late master S. Dhanapal, here experimenting on paper perhaps in preparation for a sculptural work.
Composition (1988) By S. Dhanapal