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News & Events
Maripelly Praveen Goud
City:
vadodara
Education:
2007-09 MVA (graphics) in faculty of fine arts at M.S.University of baroda 2003-07 BFA (painting) from P.S.Telugu university, Hydrabad with distinction (75%)
Email:
[email protected]
Awards 2010: H K Kejriwal Young Artist Award By Mahua Art Gallery, Bangalore 2009 : National Academy Award in 51st National Art Ehxibition Org. by Lalit Kala Academy, New Delhi. 2008 : Honourable Mention Certificate Award in 8th Bharat Bhavan International Biennial, Print Art – 2008 at Bhopal, Madhya Pradesh. Scholarships 2009-11: HRD Scholarship by ministry of culture, New Delhi 2006-09 KrishnaKriti Foundation Scholarship, Hyderabad. 2007-09 : PS Telugu University, Hyderabad 2007 : Vasudevan Charitable Scholarship, Bangalore 2006-07 Susrutha Charitable Trust Scholarship, Karimnagar, Hyderabad Residencies & Workshops 2011: PEERS -2011 Artist in Residency at KHOJ, New Delhi. 2009 : Art Camp-III, PS Telugu University,Hyderabad 2009: New Delhi Artist Residency Org.By Ragini Art Gallery at New Delhi
At first glance a viewer might find a disconnect in Maripelly Praveen’s imagery. The artist presents both low and high tech subject matter through media that is historically the oldest forms available to the printmaker’s craft. Both the woodcut/wood engraving and the serigraph (silk screen) were developed hundreds of years ago in China as methods for producing multiples, and both were widely in use in Asia before their introduction to Europe and the West. The original function of these forms of printing was to disseminate religious imagery for the edification/proselytization of the masses. Strangely, Goud has used these extremely ancient techniques to explore today’s world of electronics technology, gadgetry, and the cultural implications of this use. A good place to begin looking at the artist’s oeuvre might be the lengthy, thirteen part untitled woodcut which spells out the word “ENLIGHTENMENT”. Each letter of the word appears to be white, but in fact is an absence of black. The letters seem trapped within ironically dark light bulbs. Surrounding each bulb a grid-frame of white spots both disturbs the eye and alludes to the mathematics of circuitry and digitalized knowledge. Praveen’s interest in science clearly runs deeper than an attraction to gadgetry and invention. His historical awareness runs back to The Enlightenment, considered by scientists and rational thinkers to be a turning point in humankind’s ability to empirically reason, logically deduce, and separate themselves from the unproven dogmas of superstition and religion. Goud is in fact utilizing the same historical methods of multiplying imagery that were once used to circulate Chinese religious iconographies to explore where the values of “enlightenment” (perhaps in a religious sense) intersect with the values of “The Enlightenment” (the era that ushered in the current scientific age and continues to shape the world today). Some of M. Praveen Goud’s works, such as the combined woodcut/serigraph titled Creation, hold no such obvious philosophical queries, but none-the-less engages us with thought. In Creation we find a tightly intertwined mass of grey circuitry reminiscent of the intricate folds of the human brain. The circuit-brain of this image is not however “plugged in”, and we are left wondering if it is a best to leave it that way. The viewer is not allowed to stare at these images impassively. We are presented with a tension that demands a judgement or reconciliation, a tension visually intensified with the optical confusion of the dotted borders. Similarly the artist’s “portraits”, hip and fun as they first appear, actually pose darker questions of contemporary life’s addiction/dependence upon machines and technology. In Goud’s portrait series we encounter modern day characters that are sometimes reproduced from fashion magazines and other forms of pop media. But the artist has transformed these individuals with the addition of plugs, sockets, light bulbs, wiring, conduit, and the ever encircling “digital grid”. As the title of the series Electro-Sapiens(set of 42 works) suggests, these individuals’ grasp on reality is questioned by their seeming need to consume and be consumed by technologies. It is as if they live in a limbo between the real and the virtual, the self-performed and the mechanical. Playful as these portraits are, they never deviate too far from the artist’s primary concern. In the large triptych Modernization we are given a metropolis whose central feature is a pair of twin towers impossible to disassociate from New York’s ill-fated World Trade Center. With oversize light bulbs crowning these monumental structures (that seem to need bracing from their architectural surroundings) they might represent the very pillars of technological accomplishment that has its roots in the rationality of The Enlightenment. Yet, in a seeming sequel, Goud gives us Falling Towers, a sculpture of the same two towers cracked and about to topple. As a young artist M. Praveen Goud is far from realizing a complete development of his ideas. But in what he has accomplished to date we see a mind probing the relation between reason, science, art, and religion. His dark light bulbs that fail to illuminate, his plugged in people with unplugged brains, his towering structures that seem ripe for a fall, all posit questions for our age. Has the human race become addicted to technologies while at the same time it has forgotten the light of reason bequeathed to it by the thinkers of The Enlightenment? Have we entered a new age of technologically driven, but rationality deprived, “Endarkenment” ? The artist admits to being enthralled by the beauty of machines, and has expressed their utilitarian beauty in an early series of woodcuts. He also is a member of the digital age, a benefactor of electronics and gadgetry. Yet he returns to the ancient arts of woodcut and silk screen to disseminate a new mantra. This mantra sounds from a mandala of an encircling and seemingly infinite digital grid. With time, the artist’s answers to the questions he is meditating upon ought to be worth our sincerest efforts to comprehend. Waswo X. Waswo Udaipur / November, 2010 www.waswoxwaswoartcollection.blogspot.com
Works