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Titel: Sheela Gowda
Verlag: Steidl/Bose Pacia
Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Sheela Gowda's art resides within a space between the local and the global. Her sculptural installations are comprised of such simple materials as cow dung and ash, but each piece is undeniably monumental in its scale and content. Buchnummer des Verkäufers ABE_book_new_386521469X
Inhaltsangabe: Sheela Gowda's art resides within a space between the local and the global. Her sculptural installations are comprised of such simple materials as cow dung and ash, but each piece is undeniably monumental in its scale and content. Her work reflects upon the passage of time, nuances of violence, the pain of grief - concepts universally shared and understood. Yet her use of specific and indigenous media, such as tar drums used as temporary homes by road workers, or Kumkum, a red dye used for body adornment, address local concerns and lends primacy to the subaltern and a consideration of reality.
Originally trained as a painter, Sheela made a radical shift towards sculpture and installation in the 1990s. Using unconventional and often lowly materials proved a means of subversion as well as a poignant expression of the angst and melancholy precipitated by local socio-political tensions. Her labor-intensive installations demonstrate her principle of preserving the integrity of her materials while simultaneously contending with the peculiar resistances of each. She seeks a kind of "specificity within abstraction" in order to avoid strident statements and instead reveal meaning through subtle layers of suggestion.
This book is the first comprehensive monograph of the artist's work.
Inhaltsangabe: Sculptor Sheela Gowda builds her installations from profoundly humble materials, including cow dung, incense ash and the tar drums used as temporary homes by road workers in India. She originally trained as a painter at the Royal College of Art in London, and turned to sculpture during the Bombay riots of 1992. In response to the rise of Hindu fundamentalism, she began incorporating substances and processes from traditional Indian culture: cow dung, for instance, has sacred implications but is also used as a domestic cooking fuel and building material. The resulting work blurs the line between fine art and craft, and between creative, political, and domestic spaces. This first comprehensive monograph includes two interviews with the artist, whose work has been seen at the Walker Art Center and the Asia Society.
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