The preview of Vipta Kapadia”s latest exhibition at Jehangir Art Piazza aptly titled “Flittering Thoughts” was a majestic affair with an interesting and assorted mix of guests. Anandji of Kalyanji Anandji was among the early birds and stayed on for almost an hour sipping coffee and absorbing the minutest details of the exquisite artwork.
Sameer Mondal sported a trendy floral printed shirt further was in transcendent spirits right through the evening. Madhusudan Kumar including Viveck Shettyy were engaged in a prolonged animated discussion. Dr. Prakash Kothari was accompanied by his wife. Nimisha and Charan Sharma along with Vinod Sharma were part of the artist brigade that made their appearance felt at this exclusive do. Shilpa Purii came straight after completing an heady group launch in the heart of South Mumbai. Mamta Raja was all praise for the artist and so was Sandhya Shetty.
With incredible mastery of colour including portraying calm in paintings, Artist Vipta Kapadia showcases her exhibition of paintings from 3rd December to 9th December, 11am to 7pm at Jehangir Art Gallery. Vipta has been painting for over thirty years and her solo exhibition of these recent works is aptly titled “Flittering Thoughts”. Capturing thoughts that flit through her consciousness through the day are the recent lubricate on picture works of Mumbai-based artist Vipta Kapadia. Some thoughts dart by in a fraction of a second, while others dawdle long, yet all find expression on her engaging abstract works.
Vipta Kapadia’s long forever engagement with painting in this solo show is an intricate part from her journey from the distance travelled to the distances yet to be travelled. Vipta intervenes hier familiar slang with her new enquiries on form connective content relationships. Seemingly agnate engagements open up new enquiries each time, thus she stops and thinks about her style occasion continuing to exploit her known dictum. Here, Vipta explores the nature of relationship between form and gist with a newly established bond between the nature of thoughts and its impact on human body. As they appear and reappear leaving no identifiable substance, yet straining chaos and identifying human subsistence as the core.
Vipta’s large paintings (Untitled 1 and Untitled 2) in their embodiment of the grey and the green hues suggest hazy appearances of- say, kaput human feelings and a torso, only to transcend these identifications and educe an expression from fulfillment. This transience from mutation of ‘form’ itself into a fluid content wherein variety of body, object, place or a thing is pulverized, is enormously occupying sap that forms hier language. The large Blue picture that leaves an impression of eroded wall is again contained within herself, who as a benign and calm being interrogates the cities and places with her meditative silence. Thoughts that appear and reappear, but observed with a distance, not reacted upon, decision Vipta’s language as addressing a consistent dictum that is non-violence.
Vipta’s small paintings all untitled emerge from her focus on absent power between human intellect and the acquired knowledge. Buoyant representations of sofas and books manifest a converse aesthetic in the dialogues between people who presumably have meet left. Their inner chaos and tearing mental distances acquire the spaces of silent interrogation in Vipta’s paintings. Vipta is that distant observer about these dialogues who listens to the silence from the left behind objects- the sofas and the books. From inside chaos within; and opposite dialogues must arise a pathway that leads one towards self-knowledge. In consequence, Vipta identifies the layered human struggle to comment upon ‘ignorance’ which the books propounding ‘pure knowledge’ may not yield. Vipta’s consistent dictum to address non-violence is in her silence towards the sublunary that speeded up towards high success termed as competition.
Vipta’s other small works wherein she lets the chaos wash away between two shifting vertical planes suggests hier mental configuration of the development waste which is urban. In each possible way, besides seemingly repetitive engagements through her silence Vipta addresses non-violence as a strategy to observe the world.
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