[6] She was a finalist for the Hugo Boss Award in 2014. See what Sheela gowda (sheelasreenivas17) has discovered on Pinterest, the world's biggest collection of ideas. The book presents, in addition to two new productions, a wide selection of works she has made from 1992 to the present time, including watercolors, prints, and site-specific installations. Trained as a painter Gowda expanded her practice into sculpture and installation employing a diversity of material like human hair, cow-dung, incense and kumkuma powder (a natural pigment most often available in brilliant red). [7] She creates apocalyptic landscapes using materials such as incense and kumkuma drawing a direct relationship between the labor practices of the incense industry and its treatment of women. In her practice Gowda often reuses “unwanted” materials, and in Hong Kong she drew inspiration from the unique way in which locals discard religious idols. [citation needed] Her early oils with pensive girls in nature were influenced by her mentor K. G. Subramanyan, and later ones by Nalini Malani towards a somewhat expressionistic direction depicting a middle class chaos and tensions underplayed by coarse eroticism. For nearly 25 years, Sheela Gowda has been lauded for her use of agrarian materials, such as cow dung and jute, sourced from her native India, as well as thread and human hair. Another visually intriguing work was the six-meter-wide installation Either Way (2015), which stood against a gallery wall. The installation appears to be capturing a moment in the weaving process, whereby the ropes on the left side are transforming into the textile on the right. She had her first solo show at Iniva, London, entitled Therein and Besides in 2011. Spices, old plastic tarpaulins, oil drums, hair and cow poo aren't things we normally think of as art materials. Sheela Gowda is a sculptor and installation artist working in Bengalaru (formerly known as Bangalore)-South India. They became long, looping cords splayed across the white walls of a gallery, as alive and as charged and as crimson as veins. Two early untitled pieces from 1992, both created from cow dung, were displayed together as an installation. In Hinduism, cow dung carries religious connotations, as the cow is considered a sacred animal. She also works with architectural and found materials, wood, metal and stone. Resembling a weaving loom, rows and rows of black rope made from wool and human hair are strung between two wooden beams on opposite ends of the wall. [5], Gowda moved into installation and sculpture in the 1990s in response to the changing political landscape in India. In the Cubo, the only space with natural light, Gowda has placed three works in dialogue. Also embodying Hong Kong’s energetic street life was the exhibition’s elaborate centerpiece, If You Saw Desire (2015). … Sheela gowda 's best boards. This prompted her search for a new visual vocabulary that would resonate with the sociopolitical issues of India, particularly labor, industrialization and the female experience. July 2020. After completing her formal art education in the late 1980s, Gowda began questioning her approach toward painting, partly in response to the political upheavals occurring in India at the time. GALLERYSKE, Bangalore (2004, 2008, 2011 and 2015); Office for Contemporary Art, Oslo (2010); Open Eye Policy, Van Abbemuseum, Eindhoven, Netherlands (2013); Centre International D'Art and Du Paysage (2014); Irish Museum of Modern Art, Dublin (2014); Garden of Learning, Busan Biennial (2012); How Latitudes Become Form, Walker Art Center, Minneapolis (2003); Indian Highway, Serpentine Gallery, London (2008); Paris-Delhi-Bombay, Centre Pompidou, Paris (2011); Ullens Center for Contemporary Art, Beijing (2012); Museum Abteiberg, Monchengladbach (2014); This page was last edited on 8 January 2021, at 20:28. Gowda's art schooling began at Ken in Bangalore, a small college established by R. M. Hadapad. Sheela Gowda (b. Bhadravati, India, 1957) lives and works in Bengaluru. Perched slightly above eye level in a corner of this structure—which resembles a traditional Chinese altar—is a small abstract painting of a black square, applied on a stretched piece of rubber extracted from the Amazon rain forest. This work consists of four kilometres of hand knotted rope and approximately twenty car bumpers. Rebellious Sheila Gowda. (These early works are included in the show, as are the more recent dung and jute canvases of ‘Where Cows Walk’, 2020.) Recently, Gowda’s various explorations into materiality and form were featured at Hong Kong’s Para Site art space, which showcased both her new and early works. As well as using incense, Gowda has turned old bits of house timber into battered versions of abstract sculpture and fashioned ropes of human hair into looping drawings. IMMA is delighted to present a major retrospective exhibition of the work of acclaimed Indian artist Sheela Gowda. But Sheela Gowda chooses to use these unlikely materials and transforms them into amazing installations and sculptures. Sheela Gowda has invoked these connections since the early 1990s, when she began making objects and installations employing locally specific materials. Gowda, working with a local seamstress during her visit to the city for the exhibition’s opening, decided to use fabric as a tribute to Hong Kong’s textile industry—once a driving force of the territory’s economic boom during the 1950s, but now a dying vocation that is outsourced to cheaper labor across the border or to neighboring countries. Sheela Gowda (born 1957 in Bhadravati, India[1]) is a contemporary artist living and working in Bangalore. 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