C 4 Delhi-at Art Heritage Gallery,New Delhi-2010
Title-Bull gives you wings,Acrylic on canvas,58''-68'',2010.
C 4 Delhi
C 4 Delhi…… Delhi is the capital of India, Ab Delhi door nahi,
Is jungle se mujhe bachao (the jungle of wires and poles), Delhi kal tak,
Ramleela – sorry for interruption(politics and faith),
Delhi boy—Shahrukh Khan, Gandhi gayarah murthi – roojana char khel,
Keep safe distance – Horn ok please(auto rickshaw 786),
Jis desh mein ganga behti hai(Delhi jal nigam), Delhi hamake jum gayil(migrants),
Ghar kab aaoge (cycle-rickshaw), Phul kile gulshan gulshan, Delhi - 6 (old Delhi)
Tibet to new Delhi, Hanuman a real super hero(karolbaug),
Lal quilla, Qutub minar, Jama masjid, India gate – city of joy………
New Delhi, the capital and the third largest city of India is a fusion of the ancient and the modern. Standing along the West End of Genetic Plain, the capital city, Delhi, unwinds a picture rich with culture, architecture and human diversity, deep in history, monuments, museums, galleries, gardens and exotic shows. Comprising of two contrasting yet harmonious parts, the Old Delhi and New Delhi, the city is a travel hub of Northern India.
Narrating the city's Mughal past, Old Delhi, takes you through the labyrinthine streets passing through formidable mosques, monuments and forts. You will also discover lively and colorful bazaars that boast to cater all sorts of good and items at mind-blowing prices amidst a barely controlled chaotic ambience. The imperial city of New Delhi displays the finely curved architecture of British Raj.
The cultural life of New Delhi is both more intellectual and more international. The politics and the history are readily apparent in the daily life of the city, influencing its contemporary art. New Delhi is also the melting-pot metropolis, as communities from each part of India have created their own
specialized sub-divisions within it.
The exploration of spatiality and temporality in New Delhi, from the vantage-point of a newcomer and a suburban Delhi-ites, is a never-ending novel. As dream-seekers turn into day job-holders, more space is divided, expanded and commuted. I explore and revisit the formulations that are basic to the
perception of space and time in Delhi. I choose different vehicles for the formulations, literally. The present suite is my paintings deal with the centrality of the public transport vehicles to the everyday aesthetics of the city life.
Per se, there are so many modes of Public Transport available in New Delhi. The Local trains, Metro train, the largest public undertaking in the world, and buses that belong to DTC Bus, private Buses (popularly known as Blue line services) arguably the most undisciplined bus-operator in India. All other modes of hirable transport are privately owned, though the public authorities are supposed to control their operations. Taxis, Auto-rickshaws & Cycle rickshaw reign supreme when the trains (metro train) and buses are sparsely available: typically in after-hours, and anytime in the newly developing areas of the city. This has been the situation for last four decades, and although every mode of transport has expanded with the city’s growth, Delhi-ites haven’t entirely skipped the long wait for a public vehicle. To add to their woos, any such vehicles are crowded/already engaged. Though a major overhaul, maybe a makeover of Delhi’s transport system is on the cards for a decade now; the existing transport experience is unchanged, thanks to bureaucracy and shortage of funds.
Now Delhi has changed owing to its continuous migration of people from far off places like Tibet, Bangladesh and of course from the very diverse locales of different parts of our own country. Language has seen a major shift giving its current flavour which is inspired by the culture of the migrants. Similarly, Ramleela has revamped itself from being traditional to political. Like every Indian metropolis, water shortage and traffic jams have become the order of day, thanks to the newly built malls and skyscrapers everywhere.
There is a perceived, self-engaged, sentimental side to the experience of navigating through Delhi in a public transport vehicle. ‘Decorated’ taxis, auto rickshaws and Cycle rickshaws make their kitsch
tore-interpret glam and glitz that the city is proud of. New Delhi has expanded and now encompasses residential and commercial development. The aesthetics has grown with the spatiality and temporality, as perceived by the people. My paintings, as such, populate so many intimate perceptions that it is hard to stamp them as cityscapes.
This is not meant to be a portrait of New Delhi but rather one of the many possible indexes through which to interpret the city, its inhabitants and how it comes to articulate the nation as a whole.
RAJ MORE - 2010
Title-Delhi-6,Acrylic on canvas,size-36''-84'',2010
Title-Dilli hamake jam gayil,size-36''-84'',Acrylic on canvas.2010
Title-''Jama Misjid''City of Joy,size-72''-48''Acrylic on Canvas,2010
Title-City of joy-Red Fort,Acrylic on canvas,size-42''-72'',2010
Title-Is jungle se mujhe bachao,Acrylic on canvas,size-48''-48'',2010
Title-Kal Tak''traffic jam''Delhi,size-36''-84'',Acrylic on Canvas
Title-Ramlila-Sorry for interruption,Acrylic on canvas,48''-48'',2010
Title-Gandhi gayara murti-Rojana char khel,Acrylic on canvas,42''-72''
Gallery view from gate
Raj More solo show at Art Heritage Gallery New Delhi with artist A Ramchandran.
With my Bull work
with my Is jungle se mujhe bachao work
with artist A Ramchandran.
Gallery Director Alam allana
With Alam Allana,Sakina Mehta & Eminent artist Ramkumar
With Eminent artist Ramkumar
With artist Shamshad Hussain
Eminent artist Ramkumar
With Manu parekh & Madhvi Parekh
With Prayag shukla
With Ram Rahim & Faisal Alkazi
Fine art gallery-,Bratislava,Slovak Republic.EU 2010
Director & owner Michal Matej present a solo show of Raj More works on his Fine art Gallery
Fine art Gallery
On Kapuncinska street 5,
Indian art in Slovakia
First Thursday in October was marked by something extraordinary. For the first time in Slovakia visited two conceptual artists from India and presented as contemporary Indian art in our latitude. They were doing Raj More painter and sculptor More Kanta Kishore Moharana.
The grand opening of the presence of the two artists took place 7th October 2010 in the premises of bourgeois house in Bratislava. Invited personalities were social and cultural life not only from Slovakia but also abroad. Directly at the exhibition, we welcome the Indian Ambassador, Mrs. Homai Saha, famous artist and director Milan Dobeš City Gallery of Bratislava PhDr. Ivan Jančár. Other guests included actress Paulovičová Veronika, Zuzana Frenglová actress, singer Beata Dubasová, sculptor John Brisudová, Austrian painter Sigi Kulterer, Czech painter, sculptor and photographer, and his son Joseph Waltz and fashion designer Victoria Vittori.
Opening of the popular singer opened Robo Opatovský which completes the whole evening a great atmosphere of the event. First official speech took curator, Ms. Zsófia Kiss-Szemán that his engaging speech highlighted the important details of works and explain the general idea of the exhibition. After doing her Rajesh More briefly welcomed all present and expressed his joy over the ample participation at the exhibition.
After the official opening of each visitor viewed the works on display. More Raj doing painter exhibited an entirely new series of works called "Swades - memories of my childhood village." He was in that mysterious and exotic Indian countryside. Painting technique of coating color on the canvas with a spatula and thus achieves an incredible plasticity of paintings. A closer look at the paintings, tree bark structure appeared, was to feel any bumps on the road somewhere far away. His sparkling sun shining colors, themes touching the culture of India, to which the author rightly proud. Therefore, we see images of traditional deities, Shiva, Krishna, elephant god Ganesha, and the monkey god Hanuman. Each of the paintings imbued with a wonderful atmosphere of distance and lovely memories of his native place.
File sculptor Kanta Kishore Moharana the selection of his works. Sculptor is characterized by a strong social conscience and enthusiasm. Decided to communicate with audiences through newspapers sculptures, which are a combination of marble, bronze and tušu. On the carved marble paper author and stained subtitles. And each of us wakes up automatically and start the habit of reading newspapers. And suddenly we understand that the author addresses a global problem such as hunger, corruption, abuse of women, child labor, abortion, social inequalities, poverty, but also terrorism. It seeks to highlight the problems of art, which does not lack courage or informative. He also shows his pride in India and its cultural heritage, but seeks to build on this basis, something new, something which tells the contemporary man and values.
Throughout the evening, both artists responded to the seemingly endless stream of questions from art connoisseurs, but also by the laity. They tried to spend at least a moment with each candidate and still managed to do interviews for the media, and can even dance to songs performed by Rob Opatovská. The opening is drawn up into the late evening hours. Each of those present with him he carried a piece of India in his heart. It remains only to hope that this was the last opening of the remarkable conceptual artists in Slovakia. But now you can come to see the exhibited works Rajesh doing painter and sculptor More Kanta Kishore Moharana Fine Art Gallery in the Capuchin 5 in Bratislava.
Thanks to the company's Top Management Holding the EU that all this opening and, consequently, an exhibition organized by and for the first time in Slovakia and has brought the Indian Contemporary art.
[A FORGOTTEN MEMORIES OF MY
] CHILDHOOD VILLAGE
Once upon a time there was a whole word, in a little village. I was little then. But old enough to see a whole world in my village of not more than twenty odd houses!
The smell of air that comes only there, the narrow lanes that lead to doors always wide open. The tulsi vrindavan in the courtyard. The smell of freshly laid cow dung, making old houses new! The wooden doors older than rusty horseshoes hailed on their heads, the little Ganesha on the wall above. The wall painting, the Ganesha riding on the horse and Krishna & Radha, groups of cows the group of pilgrim people.
The bell of Maruti temple and red, orange color Hanuman & Ganesha, the small curve streets in the village, the sunlight that lit up the streets the big banyan trees along the street sides, the idols of different gods ‘pinds’, ‘handi’ under the trees and the red color pasted on the pind have always fascinated to me. The pots, vessels lying scattered, the bullock cart wheel resting against the wall, the kerosene lantern hanging from the thatched roof above, all contributing to an unintended mural!
The silence that was always visual! Rooms within the rooms made by light that sneaked in through the roofs. The dark creating stair cases to shy lit mezzanines. The sepia grandfather and grandmother above …………..
I was a baby in this village and the village itself was a baby in the rocky arms of the sahyadris. Those childhood influences refused to go, not when I had to leave the village for the city. I am glad, I never grew out of it all. In fact I remained that little child. My eyes hadn’t forgotten the art of looking at small things lovingly! But more than any thing else, I was glad my world hadn’t shrunk the first symptom of growing up!
Through this exhibition, I bring forth “Swades”- (A forgotten memories of my childhood village). ‘Swades’ means the ‘view’. Our culture is like a great ageless but for the reasons, I do not need to elaborate, it is my view of point – “Swades”.
If even one image jags your memory, and you remember your own world in that small village you called your world, I will consider this exhibition successfully