I’’m no one to tell you, what not to do

Ranjani Shettar

Exposición: Mar 8 – May 7, 2006


Las dos obras en el proyecto de Ranjani Shettar unitlizan investigacion biologica para conducir un tratamiento considerado del material.  La instalacion en tercera dimension y su enmarcado litografia en de ocho pies en altura se unan junto al ambiente natural via la incorporacion de maderas natives.  El proyecto es  una meditacion adecuado sobre negociciones regionales, particularmente symbiosis mutual.

Para la instalacion Shettar tallo, lijo, y pulio secciones de mequite en redondeados nodos esculturales.  Montados al la pared, las formas de Madera congregan encima de una forma mas grande, comunicando la balansa irregular de la naturaleza.   Son cuerdas de WATERY algas marinas verdes  que cuelgan del techo y aparenten listos para hospedar el fungi de madera.  Las algas, enmoldados a mano de ule de silicona, en un proceso adictivo que complimenta el proceso reducivo de taller, tal como cada elemento en la instalacion reda con el otro para existir y ser completo.

Un grabado en madera de cinco colores similarmente expresa armonia entre lo dispar en un medio mas intimo y controlable.  Rios de ladrillo rojo, café, rosa, y verdes CO-MINGLE y se separen en el grano del cedro, lo qual Shettar permitio para guiar su tallo.

Las obras de Ranjani Shettar sugieren los benificios y belleza mutual de compratimiento y corporacion sobre competicion y combate.

-Kate Green

Artista

Ranjani Shettar

Bangalore, India

Ranjani Shettar explores the uneasy intersection of industry and the environment in installations that evoke technology’s encroachment on tradition. Transforming ordinary materials (wax, cotton, mud, PVC pipes, plastic sheeting) into ethereal sculptures that mimic natural structures such as beehives and spider webs, Shettar fuses the mundane with the metaphysical. Whether examining the nature of inhabited space or the confrontation between facts and ideology, Shettar’s intricate works collapse distinctions between art and craft, yet draw liberally from the histories of both.
Shettar’s three-dimensional, sculptural drawings fluidly string together particles of divergent material to reveal their biological inspiration. Creating breadth from masses of small parts, the elegant installations move beyond the scientific to suggest contemporary social, and even geo-political, relations.
Born in Bangalore, India in 1977, Ranjani Shettar received her MFA in 2000 from Karnataka Chitrakala Parishath, also in Bangalore, where she currently lives and works. Solo exhibitions include Talwar Gallery, New York, NY (2004); Gallery Sumukha, India (2003); and Chitra Art Gallery, Bangalore, India (2000). Group exhibitions include J’en rêve, Fondation Cartier pour l’art contemporain, Paris, France (2005); Landscape Confection, Wexner Center for the Arts, Columbus, OH (2005); and How Latitudes Become Forms: Art in a Global Age, Walker Art Center, Minneapolis, MN (2003).

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Curador

Douglas Fogle

Pittsburgh, Pennsylvania, USA

Prior to joining the Carnegie Museum of Art in 2005, Douglas Fogle served for ten years as curator at the Walker Art Center, Minneapolis, Minnesota. While at the Walker, Fogle initiated an emerging artist series and a number of group exhibitions such as Stills: Emerging Photography in the 1990s (1997). His most recent exhibitions include Painting at the Edge of the World (2001), solo exhibitions with Catherine Opie and Julie Mehretu, and a historical survey of the conceptual uses of photography entitled The Last Picture Show: Artists Using Photography 1960-1982, which opened at the Walker Art Center in October 2003 and traveled to the UCLA Hammer in Los Angeles before continuing on to Europe. He regularly contributes to journals such as Artforum, Frieze, Flash Art, and Parkett.

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