Rekha rodwittiya biography

In this particular work, the focus isn't solely on domesticity. I employ the metaphor of a woman threshing rice grains to symbolize the harvest, emphasizing the significance of what is retained and what is discarded. The domestic objects in the work may be interpreted in numerous ways. I vaguely recall a kettle, existing almost in a suspended, free-floating state.

I firmly believe that you can't strip away the heart and soul of an individual, regardless of what possessions you take from them. Even in the face of extreme adversity—home destruction, rape, the degradation of women's dignity, looting, and plundering—people still seek ways to nurture life and be life-giving forces. This, I believe, is the underlying intention of my work, although it's not necessarily a narrative that can be explicitly told.

Rekha Rodwittiya, UntitledOil and acrylic on canvas, Baroda as a space has always existed in the fringes of society, even in the context of art learning.

Rekha rodwittiya biography: A contemporary Indian artist, curator and

You have put a lot of emphasis on the significance of learning art history as a practitioner. Have these had an impact on your art practice? Rekha: I believe I wouldn't have become the same artist I am today without the education I received. During my undergraduate years, I had the opportunity to interact with a diverse group of individuals.

Additionally, I had access to remarkable individuals such as K. I must mention my deep gratitude to Nasreen Mohamedi, who was a disciplined and sharp-minded teacher, although her quiet demeanor might not have revealed it to many. Jyoti Bhatt and Gulam Mohammed Sheikh, whose passion for art history, coupled with his deep engagement in music, literature, cinema, and other cultural practices, infused our classrooms with vibrant energy.

Subramanyan, Untitled WomanGouache and graphite on paper, What made my educational experience truly transformative was the interdisciplinary nature of the college environment. While we had our separate departments, we were also part of a collective space where learning transcended boundaries. It felt like being part of a joint family, where everyone contributed to each other's growth.

Our college operated from sunrise to sunrise, and I often stayed until 10 or 11 at night. One of the standout figures in my educational journey was Jeram Patel, an exceptionally talented artist from the Faculty of Fine Arts, although he was designated for Applied Arts. He generously shared his insights with many of us who sought his guidance.

Then, of course, there was my experience in London, which was truly remarkable. I was immersed in a different level of academic rigor and had the privilege of being mentored by an excellent teacher, Peter DeFranchier, to whom I am deeply indebted.

Rekha rodwittiya biography: Rekha Rodwittiya is a contemporary

As an educator, I have a unique approach. My role is to serve as a bridge, providing keys to those I interact with, keys that can hopefully unlock rekha rodwittiya biographies of understanding. I am a demanding teacher, drawing from the tradition of disciplinarians like Nasreen, Jyoti Bhatt, and Peter. They instilled in me the significance of being rigorous in teaching, setting uncompromising expectations for their "rekha rodwittiya biographies." This legacy has shaped my approach to education.

Jyoti Bhatt, IsolatedOil on Masonite board, She does not treat art and life in isolation and deems it necessary to experience life to paint. Her fervent activity of painting is a struggle for her own rightful existence. Her images are a byproduct of her thoughts and emotions, readings, observations, beliefs, values, and a vast compilation of past experiences.

University, Baroda in She then received the Inlaks scholarship for her M. In she was invited as guest artist to the Konsthogskolan, Stockholm and was also invited to deliver series of lectures on Indian Art at the Ecole des Beaux Arts Grenoble and Castello de Rivoli, Torino in Rekha Rodwittiya's work describes complex issues of life and living, of alienation and belonging, of discrimination and acceptance, of accord and discord.

Her work reflects her sensitivity towards socio-political attitudes along with the reflections from her past. From the folk traditions of Kutch and Saurashtra or from the Japanese and Korean traditions of pottery, she amassed an eclectic premise of personal belonging within histories that she found empathy with. She cared little for focus or attention and preferred instead to absorb herself in hours of work at her potters wheel or at her work table, letting her fingers create the vocabulary of discourse with the world.

We were bonded through an empathy as women whose choices in life held quiet resistance and nonconformity. Her dignified presence infused me as a student to hold my courage at all times. I will deeply miss you Jyotsnaben - your passing away leaves a void in my life that will not be easy to fill my love. Posted by Rekha Rodwittiya at 11 comments:.

Saturday, 20 June Tick-tock, who listens to the clock The pandemic brought with it something many people of privilege found difficult to cope with - isolation, and the investment of spending time with oneself. I remember growing up on airforce bases with little or no contact with children of my own age, and as I was home schooled till I was seven, I was thrown into the exploration of finding an imaginative world to engage with.

This perhaps led me to find methods of discoveries in my life, and most importantly the value of curiosity. Reading and other frameworks of learning have of course taught me to be receptive to knowing the world, but the key for me in negotiating my reality has been the process of recognising how to expand a thought process and make it into a larger window of perceptions.

To commune with oneself is vital. Today unfortunately we have become way too reliant on the press-the-button culture that takes us to an immediate destination of presumed gratification. Knowledge through quick internet information sourcing has erased the process of substantiated learning in many instances. It has taken away for too many people, the real world of experiences and instead implanted a virtual space from where we quick-fix who we want to be perceived as.

To find ones own identity requires concentrated focus where we hold ourselves still for personal self scrutiny - where we attempt to harness the true potential of our energies within a space of deliberate consideration. I negotiate the world in many ways as we all dobut perhaps it is through painting where I am most alert in holding my deliberation of consciousness.

I don't believe we need a buildup of time to find those frameworks of consciousness either. I scuttle around like a chipmunk some days - and have fractured time on many occasions in my studio where it can even be as little as 15 minutes in-between supervising repair work in my home or attending to pressing office work - where I pick up my brush and I am immediately stilled.

Rekha rodwittiya biography: Rekha Rodwittiya (born 31 October )

Everyone can find such moments of mediation - however it can be sought only through the desire to acquaint oneself with who we are, without props, camouflage or pretence. Such paring away of oneself does not always present us with the image of ourselves we may be comfortable with - or of the world as we would expect it to be. But this process of exploration allows one to guide our consciousness to those areas of personal expectation by the endeavour of pursuit.

As I sit late into the night with the silence of the city that engulfs me as I paint in my studio the 9th floor everyday, I gather around me those I want to engage with - those writers and film makers and those nameless women of courage around the world, all drop by to infuse their strength and resonance of philosophy into my mediative space. These amazing interludes with myself have allowed me to live a more comprehended life than if I were to only want answers alone.

Rekha rodwittiya biography: (b) Born in Bangalore, Rodwittiya graduated

Time in solitude is not irksome if one has the patience to engage with oneself without fear. Posted by Rekha Rodwittiya at No comments:. Monday, 15 June In-between spaces are not necessarily gaps! My last blog post was a long while back - May to be precise, and since then so much has happened in my life. I didn't plan to take a hiatus from writing - it just happened that my studio work and other management areas took over my time, leaving me with very little spill over to fit in anything "extra".

I was sleeping only between two to four hours every night during this time - and in-between all of this was also supervising the building and completion of a new residence that we had purchased. I turned sixty in and we decided to reinvent our lives to suit the next 25 year span - so we moved out of our bungalow and into a large single level flat - which though bigger in square foot area to our older bungalow - allows me to zip about at mad max speeds within my multitasking world of choices.

June makes six months since we have moved into Raama Palacio in Gotri Vadodara, and though we are well settled, there still remain a few teething problems that occur from time to time. I received a number of queries from well wishers asking me to resume my writing and was deeply touched that my "conversations" with the outside world had held areas of connection and value for others.

Thank you, those of you who have so faithfully followed my blog over the years, for the embrace of belief. But there is no escape. That it is an experience that connects the entire global rekha rodwittiya biography within a single time frame is what perhaps makes it so unique. What is the greatest pain and sorrow in all of this has been and continues to be how the helpless and less fortunate are being mistreated through this surreal phenomenon we are facing.

As politicians argue and put up smoke screens to fudge the truth- the economically less fortunate are stripped of their livelihood and their dignity, as each day passes. Today as cities like Vadodara attempt to limp back to new semblances of normalcy, our labour force that really is the heart of our survival are uncertain of whether to trust their lives back within our safekeeping any longer.

When they needed our help the most, too many of us sadly looked the other way. Today, for many, the safety of their small patches of land and their existences in their quiet villages are more comforting despite the hardships they face, in comparison to the horror of abandonment and disregard that their city employment offered them. I now live on the 9th floor.

Our flat has large glass panels in every room from where I can look out. It is located in a posh part of the city. However that is really only the snobbery of a postal code mapping. In reality hungry street dogs scavenge from the garbage piles along the road side. I watch people drive along this quiet road in very expensive cars, who slow down and callously throw out their garbage and drive on.

Who cares? Not many. We are the Indian's whose mantra is "tolerance"! Retrieved 24 November Open The Magazine. Retrieved 23 November Woman's Art Journal. ISSN JSTOR The Hindu. ISSN X.