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Ajay is a Delhi based Artist, mainly working in Painting and experimenting with other mediums like Photography these days, though he has already done some installation projects and sculptural works during his college days.
Ajay's Art practices started from early age of childhood which later turned into his art education at Banaras Hindu University and finally resulted into his move to New Delhi, obtaining master of Fine Arts from Jamia Millia Islamia.
He has exhibited his works quite extensively in Kolkata earlier and recently works were concluded in some noted group exhibitions held at Lalit Kala Academy, Gallery Art Positive, and Reflection Art Gallery in Delhi. Apart from this domestic participation he has also participated in group show at XVA Gallery, Dubai, Bastakiya. He has displayed his works at India Art Fair and he also has a residency and a solo show coming up in Spain in 2014. His works delve deep into the complex matters of human sexuality, visualized with simple symbols.


RESUME



CURRICULUM VITAE


B. AJAY SHARMA
Educational Qualification:
• 2009 Master of Fine Arts (M.F.A.) in Painting
Jamia Millia Islamia University, New Delhi
• 2007 Bachelor of Fine Arts (B.F.A.) in Painting
Faculty Of Visual Art, Banaras Hindu University, Varanasi
Personal Details:
• Father’s Name: Late Baidhynath Sharma
• Date of Birth: 4th Jan.1986
• Place of Birth: Deoghar (Jharkhand)
Awards:
• 4th North Regional Camlin Art Foundation (New Delhi 2004)
• Best painting of the year 2008(Faculty of Fine Art, J.M.I., New Delhi)
• Annual Art Exhibition (F.O.V.A., B.H.U.), 2004-2007
• Annual Sketching Competition (F.O.V.A., B.H.U.), 2004-07
• Tulika in Water Color, I.T., B.H.U., 2005
• Kala Mela (Kornik Art & Culture) Society, Jharkhand, 1997, 1998, 2000, 2001, 2004
• Indian Oil Conservation, 1999
• Ram Chhatpar Shilpnyas Sand Sculpture, 2004, 2007
• M.M.P. Madan Mohan Malviya by S.A.F. Varanasi, 2007
Exhibitions:
• ‘Ye Hai India Darling’ Curated by Pia Camilla Copper, at XVA Gallery DIFC and
XVA Bastakiya, Dubai, 2011
• ‘Male Gaze & Attitude towards Women’, Reflection Art Gallery & Studios, New
Delhi, 2011
• ‘Art Spotting-II’, by Gallery Art Positive, New Delhi, 2011
• ‘Unnayan’ a Group Show at Lalit Kala Academy, Ravindra Bhawan, New Delhi, 2010
• ‘Love Stories’, at The Taj Deccan Hotel, Curated by Nicholas Hoffland, Hyderabad,
2010
• 10th North Region Camlin Art Foundation, at New Delhi, 2010
• ‘The Narrators’ a Group Exhibition at India Habitat Center (Open Palm Court), 2009
• ‘Indian Surrealism’ at Aakriti Art Gallery, Kolkata, 2008
• ‘Banaras’ organised by Mr. Mirchandani at International Center, Goa, 2008
• ‘Sublime Expression’ at Pune International Centre, Pune, 2008
• A Group exhibition in Ramchhattpar Gallery, 2007
• 6th North Regional Camlin Art Foundation, New Delhi, 2006
Participation:
• 10th All India National Exhibition, Lucknow
• 18th All India National Exhibition, Nagpur
• 16th All India National Exhibition, Nagpur
• Regional Art Exhibition, L.K.A., 2006
• Kala Mela (Kornik Art & Culture Society, Jharkhand, 1997, 98, 2000, 01, 04, 06
• ‘Umminde’, Varanasi, 2004-07
• First Art Exhibition, 2004, Sasaram, Bihar
• Varuna Mahotsav, Organized by U.P. State Art & Culture Development Society,04
• Assi Ghat, Group Exhibition, 03
• Utshriji, Satsang Deoghar, 2001, 02, 03, 05, 06
• Group Exhibition in Travancore art gallery-2008
• Plash Group Exhibition by Diksha Music Academy 2006, Varanasi
• Kala Mela Organized by Allahabad University, U.P., 2006
• Rashtra Saurabh, Hindi, Vidhyapeeth, Deoghar, Jharkhand, 97-99
Solo Exhibition:
• Water Color Exhibition, 2005, Sponsored by Kornik Art & Culture Society, Jharkhand
Scholarship:
• HRD scholarship of Ministry of Culture Government of India, 2010-12
• Residency studio scholarship by Niv center of Art, 2009-10
• Faculty of Fine Art, Jamia Millia Islamia, New Delhi, 2008
• Faculty of Visual Art, B.H.U., 2005-07
• Student scholarship of Art by KORNIK Fine Art School, 2003
Camp:
• Plash, National Art Camp in Ranchi 2008 by Cards
• School of Performing Arts & Creative Education (SPACE) in Delhi, 2008
• Smriti, Young Artist of Varanasi, 2007
• Water Color Camp by State Lalit Kala Academy, Lucknow, 2004
• Kala Mela, Kornik Art & Culture Society, Jharkhand, 1998, 2000, 2001, 2004, 2006
• 7th Kornik Foundation Day, 2000
• Varuna Mahotsav, Organized by U.P. State Art & Culture Development Society, 2004
• Water Color Camp by Hotel Ganges View, Varanasi, 2004-08
• Lalit Kala Ashram, Mau (U.P.), 2005
Member:
• Kornik Art & Culture Development Society, B. Deoghar, Jharkhand
Collection:
• Lowe Art Museum (U.S.A.)
• Kornik Art & Culture Society, Jharkhand
• Jharkhand State Art & Culture Development Society, Govt. of Jharkhand
• Upendra Maharathi School of Painting, Hazaribagh, Jharkhand
• Mural in Hotel Radisson
• Mural in Ram Krishna Mandir School, Jasidih, Jharkhand
• Irving Rosenthal’s (Poet) organization, San Francisco, U.S.A.
• Many other collection in India & Abroad



Place: New Delhi

Date-14/06/12 B. Ajay Sharma

CONCEPT NOTE



Concept Note
I have been a keen observant of life and death and the whole milieu consisting metaphysical curiosity and cosmic cycle of life, led me to depiction of human forms in order to relate the supernatural world. Through the time of my learning as a student what basic thing I formed as a idea, is the philosophy of forming and deforming attending Transformations, which is somewhere base of my current works also.
In my current works I have connected these following things to shifting and changing notions of urbanized world, through the form of a simple fruit like Papaya. The transformation of a pure form is something which I enjoy playing with, a natural simple form develops gradually, relocates itself as a fascinating form. The entire stuff makes its presence in my art works as a fruit form along with glimpse of other aspects of life also.
Firstly, the aspect of sexuality, which also comes in my earlier works; but in a metropolitan city now the spiritual milieu of Varanasi ghats and Deogarh satsang ashram replaced by the glamorous world of metropolitan city. The glamorous outside of a female body attracts me somewhere in provocative way as earlier I never felt the sexual orientation in my own body of thinking. So, I visualize the Papaya as a vaginal form also and the small seeds identifying the mystery of origin i.e. birth and death and their transforming state.
And secondly, the process of how a frequent and cushy object is made modernized for consuming purposes in the urban space, interests me a lot. As I have experienced the shifting and changing notions of commercialization. In any commercial access common objects are intentionally made attractive, well packaged and reproduced for consuming purposes. Similarly I observed the marketing and consuming process of the fruit papaya. Through it’s not a favorable fruit, but packaging makes branded. The journey of a fruit from village’s tree, then to a manufacturing place and finally to an urban market, with a branded sticker on it signifies the branded quality.
I have been an observant of geographical, political, socio-cultural and physical transformations of minor and major things, which I have depicted in my recent works. Through minor things, which are as small as a fruit seed, I have illustrated the transformation of distinct aspects and objectivity of life, which travels on the conduit of time, space and memory.
I like the idea, the power part. And it’s the kind of thing where every time someone asks me what my work is about? For me it’s really about how I perceive things and that all goes back to my own sense of making them idea of works. Time can be cyclical or linear, mythic or quotidian, eternity may be beyond or in the present moment, memory can bring the past into the present and the future can be anticipated and captured.
Many aspects of my work, in a very direct way, I think are going to be about recreating, or trying to rediscover. I have this kind of intense, extensive catalogue of information that I’ve found throughout the life journey that is a parallel project to what I’m analyzing towards new experience of time and place. It is also about me going back and finding textures and personalities and reinserting them into my process of working. A lot of people just block that stuff or it becomes unimportant, Or grown up problems become more important.
I have tried juxtaposition of different narrative voices there is not only a recognition of the multiple levels of culture and language but also an effort to draw them, and my divergent preference together. It expresses the desire to go beyond the individual ego and achieve a new individuation by reconciling multivoiced narration with self-expression. In short I wanted multiplicity assimilated into a single idiom by freely mixing different languages and dialects, but all done with a calculated complexity and refinement bearing the unmistakable stamp of cultural sophistication.
Thus, the real is translated here into the past, the distant, and the mythic by conversion of images into metaphors. This attribute of language provides me with the facility to imbibe modern media based images and enrich the orbit of expression. Indeed I always aware of the magical properties of the artist’s power of attaining transformations-of one image into another, of time present into time past.
Here, the work deals very explicitly with the idea of information being on the surface. Everything in the material world around us has a narrative. Human being gets inspired by infinite people, situations, views, and many other happenings. Though it is not possible to specify all the influences but they get recognized by the changes brought by them. Even Spontaneity of working sometimes brought new elements, who know just an activity of daily life add one more painting to your oeuvre. The exploration of environmental translocations of natural objects interests me a lot and similarly I found a belonging to interior universe, a zone apart from the shared realm of history and cosmology with day to day life as the use of daily life’s objects reflect it.
Creation of works that are profoundly local and somewhere interior, drawn sometimes from historical events, these are transformed and re-envisioned in own idioms, which remains never quite fully accessible, retaining an aura of mystery. This speaks of my own perception of attending the process of Transformation.
The process of living and the process of thinking and perceiving the world happen in everyday life, I believe that a small action or a subtle gesture in life can change many things. It’s the same in art. We work, and the work is realized when it’s in contact with the public. All my work is intimate because I do it for me, because I’m curious about something, want to experience something, or want to find out about something. But I’m conscious that it’s always intimate and it’s always public. I don’t think it has to do with the size or the scale of the work. It has to do with a deep reason why you are doing that work. It can be a small piece or a big one.





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