Artist-printmaker-sculptor Avijit Roy is too well known to need introduction in the country&’s art scenario. Having enthralled viewers with his fine prints in lithograph and other mediums of printmaking, as also powerful drawings and bronzes, Abhijit has also used chinecolle in parts for visual enhancement of his works. Chinecollé is a special technique in printmaking, in which the image is transferred to a surface that is bonded to a heavier support in the printing process. One purpose is to allow the printmaker to print on a much more delicate surface, such as Japanese paper or linen, which pulls finer details off the plate.

This time, however, the series is unique and, according to Avijit, unprecedented, for presenting chinecolle as an independent medium made to stand on its own. He describes his technique of layering, colouring and running it through the press to achieve a uniform effect, set free finally with touches of the brush, pen and ink or varying material of the artist&’s choice.  The little bronze bulls, some in combat, add playful aggression to the stillness adorning the walls. The green surfaces used for the floor displays beckon new life against the grim realities of violence and bloodshed portrayed in some of the works.

Always a stickler for method, like most printmakers of his ilk, Avijit regularly fascinates with not only his work but also his display patterns that generally turn out as magnificent installations at Shridharani over the week.

Harsha V Durugadda (b.1989) is now a Delhi-based artist, but originally from Hyderabad. Trained under his father, a well-known sculptor, Harsha has participated in group and solo shows both in India and abroad, received a fellowship from the British Council for his social art project, done a residency with NIV and is currently pursuing his Masters in Arts and Aesthetics at JNU, where he pursues his interest in Buddhist sculpture. Harsh Vardhan is currently showcased Whirling Out by Monica Jain in the Lalit Kala Foyer.

The 26-year-old sculptor is unusual in his negation of the self, even the artistic self, as the prime player in the creation of art. “All things around us, our entire world, affects us; as products of our environment, we draw our inspiration, indeed even our mindset from our surroundings, our upbringing and orientations, as indeed did our parents, teachers and those who affect us. So they too have as much, if not more, of a role in the formulation of our expressions as an artist.”

Practical and sure, this young man for the moment is a practitioner in myriad method and material, unafraid of experimenting and explorations, primarily abstract in his bank of ideas, attempting to “concretise intangibles like notions of time, sound, and movement, especially revolution”. Proficient in handling different material to good effect, sincere and dedicated, Durugadda holds considerable promise for not too distant a future.