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Artist - Profiles

- S.G. Vasudev
- Yusuf Arakkal
- Sheela Gowda
- Ayisha Abraham
- Amarnath
- Archana Hande
- Surekha
- Shanthamani
- Srinivas Prasad
- Krishna Raj Chonat
- Ravikumar Kashi

Art Education

Art Theatres

Jnanapeeta Awardees

Kannada & Culture

Modern Kannada Classics


Shanthamani's work is a conscious departure from personal narratives and the 'Expressionist idiom'. Evolving a language, with an arrangement of dissimilar objects and materials, she desires to preserve the resonance of the found objects, from which we have been estranged. These fragmented mechanical parts arouse her curiosity, in the artifice of a landscape of industry - the human figure moving away, leaving traces of the human presence. She focuses on the industrial landscape of urban 'gujalis' (junk yards), and absorbs the textures, shapes and sounds at a ship breaking yard. These sites offer the artist a host of mechanical ruins, that provide clues to an understanding of the mechanisation of our lives. Ironically,most of these spare parts' and machines have become


obsolete, with technological innovation. These materials are substandard, irreparable and irreplaceable. Our economics urge us to buy more, waste more, throw away more - we are not ecologically responsible.

Scientific paradigm has reduced our universe into a well organised machine. Nature becomes an object - a mere mechanism. We live in a world of dead matter. The machine then becomes a metaphor. We are confronted with the comparison of the human body and the nation as a mechanism, and the breaking down and building up of these structures.

The artist fractures her objects from their original functional state, and smoothes their sharp edges to reconstruct another reality. She faces the debris as an aftermath of violence, constructing her canvas with gestural delineation and heavy impasto, creating a multitude of tactile sensations.

Working against the use of conventional materials, she metaphorically employs a range of industrial substances like red oxide, synthetic distemper and paper pulp. This exploration of technique and her experience of working in three dimension, gives her the confidence to sculpt objects in given space.


She is in the process of mapping and installing these objects as still lifes in a landscape. These components are used like fetishes or toys, achieving a monumentality that grows beyond human scale and control. The viewer is diminished and overpowered by her statement. This ritual of play becomes a surreal experience in the realm of an uncertain anxiety.

This struggle seeks to emphasise a human presence and tactile sensibility, heralding the return of the hand from exile, in to her mechanical world. It is an attempt to return the spiritual to the material : the search of stating a feminine presence in finding an order in chaos.

  M. Shanthamani Born in 1967, Mysore
B.F.A. in painting in CAVA, Mysore 1983-88
M.F.A. in painting, M.S.. University, Baroda,
Inlaks Take-off Grant, 1991-92
  Workshops and Camps Participated in South Zone Young Artist Camp, Mysore, 1992
IPCL Artist Camp, Nagothane, Maharashtra, 1992
  Exhibitions Karnataka Lalit Academy Annual Exhibition 1987, 1994 'SAHAMAT' Artists against Communalism, 1990 A Solo Exhibition of Paintings at Jehangir Art Gallery, Mumbai, 1994 Participated in the group exhibition 'The Silence of Furies and Sorrows' with five artists in 1995
Participated in the group exhibition 'Immaterial Material' organised by Max Mueller Bhavan, Bangalore in 1995 

Currently living and working in Bangalore.

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