The strangers we know that the art exhibition examines the disconnect between Kith and which

Strangers we know the art exhibition, currently, in the Neber Gallery in Kesavadasapuram, Thiruvananthapuram, Chennai -based photographer Priyadarshini Ravichandran is divided into two by a monochrome division filled with an exhibition called Serge. Black and white paintings are displayed in a grid, in which the entrance is placed in another room, where the rest of the series shows.

On the opposite wall, there are art establishments by Thiruvananthapuram-based artist Sanath Sugathan, which boasts the colors of green, blue, brown and more. In unevenly space and unique form, the work ranges from acrylic paintings to the sketch by the artist wrapped around the column of the gallery.

However, despite the obvious contrast, the artists and their art is familiar and with their disconnects with their disconnects “attempts to deal with the delicateness of blood relations, while they celebrate the connections experienced with strangers.”

A pigment-affected photograph captured by Priyadarshini during a workshop in Cambodia includes fully surge. The rest of the exhibition contains an accordion photubook and two big pictures on each side with a checkerboard pattern in a checkerboard pattern, shown on a wall.

Accordion Book part of Serge Performance | Photo Credit: Nainu Oman

Photos arising from Priyadarshini need to catch “loss of connection” with your home back home. “Strangers, animals, trees, rocks and city portraits became a placeholder to clarify the complexity of my relationship,” she says.

“I bounced a derogatory need to free myself from an abusive need, which I felt because of a contradiction. My process and the speed of taking pictures were hard to express myself,” to express myself even then to express myself, “called Priyadarshishini, the winner of Parsol Award by a reputed International Awards V&A Museum for women photographers, to express myself.

Photographer Priyadarshani Ravichandran | Photo Credit: Special Arrangement

There is another exhibition by Priyadarshan Pattu classA 15 -minute documentary with footage compiled in the last 10 years. It belongs to the relationship between the photographer’s mother and the mother’s aunt. Priyadarshan studies music from two, and these lessons make the crucux of the documentary. Over the years, aunt became the mother of Priyadarshini’s mother.

A still Pattu class
Photo Credit: Special Arrangement

“I never intended to make a film. I started to film my classes mostly to remember the verses, and over time these recording began to expose the uninterrupted nature of my relationship to me,” she says.

Hearing this, a friend based in Kathmandu started to hear me and started editing the film that my grandmother died last year, “Priyadarshan, who shot the film on Handcams, DSLRS and phone.

Shades and glimals

On one corner of the side of the sides of the demonstrations, a cactus plant is installed. In a close sight, there are scribals on the tender stem of the desert plant who read ‘grandmother’, ‘mother’, ‘son’, ‘grandfather’ … each on each branch. A few feet away from the large plant, a small plant is also placed on the soil.

Family Trees Exhibition by Sanath Sugathan | Photo Credit: Special Arrangement

Family tree exhibition can be addressed to Sanath’s childhood memories in his ancestral home Paripli, Kollam. Says Sanath, “There was a cactus plant in a corner of the house; it was not very big, but there were many branches. I remember that the names of my cousins ​​were copied on its branches. I did the same.”

Artist Sanath Sugathan | Photo Credit: Special Arrangement

“I felt that the plant represents our family metaphorically. Cactus is a protective exterior due to thorns, but the plant is very soft in itself,” says Sanath.

Does it still hurt to step into a broken glass in the sand? Cassettes are also displayed.

Are there still injuries to step into a broken glass in the sand? Exhibition | Photo Credit: Nainu Oman

This artwork is closely related to an idea called huge solidarity, referring to the importance of space among individuals in various relationships.

“During a conversation, one of the initiations of the neighboring gallery, Valentina Abenvoli told me how two porpines cannot stand very close to each other or embrace each other. They should find a comfortable place to stand without hurting each other,” Sangath says that the feeling needs to be crossed through the relationship.

The glass sharpes represent glimmer, which is a short -term ray of light, recalling his constant “potential tenderness or treatment” through glimals as a child.

Audio cassette fluttering represents a core memory for the tape artist, which threw the cassette on the tree branches and saw brown tape hanging there. This happened when the cassettes were obsolete with the arrival of the CD, remembering Sanath.

Three scenes of a landscape include two relief sculptures (sculptures related to backgrounds) and a five -minute video of a family migration occupied by Sanath.

Also readQuick

“It was a difficult time for my family. We traveled to a place thinking that it could help us fix us, and I started recording,” Sayath says.

Visitor with three scenes of a landscape performance by Sanath Sugathan. Photo Credit: Adil Sanob

As a child, Sanath’s sister developed fear of water when she almost drowned in the sea. However, the video has stepped into a stream with streams. In the background, Sanath’s mother, out of fear, asks her daughter to return. “She is trying to control her child with her fear. When we see that my sister has broken her hereditary pattern by stepping into the water.”

The exhibition includes pictures and excerpts of his writing in his other works, an arithmetic book and gouche (opaque water color) on Chinese paper.

The stranger we know is in the Neber Gallery in Kesavadasapuram, Thiruvananthapuram till 31 May. Admission fee.