I am a multidisciplinary artist from Bangalore, studied in MS University. Currently practicing in Bangalore, Karnaraka. My work has developed in number of ways over the years yet from the very beginning of my art practice, I have workded in Painting, Printmaking, Installation, Video Art and Live/ Performance art. My intention is to blend these mediums into an interdisciplinary language.

Sunday, May 26, 2024

A Psychological Thirst – Manmade Disaster



 
Venue - 1. Bangalore International Center 28th April 2024
             2. Ragi Kana 19th May 2024

    Event - 75th Edition and 76th Edition of Art Park Bengaluru






































Neeru Neeru..

What happens when you see life sources become scarce?

When we keep a blind eye to the realities of life

Our greed takes over the necessity.

When we encroach on wetlands build towers,

Who should we blame?

Neeru …Neeru…In my dreams, I hear the sound of water drops.

Each drop of water becomes precious. Scarcity knocks on the doors.

Summer days are long Climate change is everywhere

Sometimes the wait is long.

Pots are empty

Throat is dry

Plants are drying

The animals are dying

Can water be replaced by anything else?

Dirt, froth and chemicals make a dance in our lake

The fight is on time to manage with minimum water

Sometimes, the wait is long.

The sound of tanker trucks on the end of the road

Ah! What a sense of relief

The demand is more than the supply.

What will be our future?

If we keep our blind eyes to the life source Is the end coming closer?

Even Indra (the rain god) seems to punish us for what we have done

Another day an Instagram reel of someone taking Dristi of Bangalore

There should be mantra to get back our lakes and wetlands.

We waited for rain few drops came and disappeared to make our dosa on a hot pan someone shared a joke in my post.

Childhood emotions revoked I remembered the Tanir Tanir Tamil movie

A State of Mind 'A Psychological Thirst’.

Thirst…. Thirst Neeru… Neeru nowhere shrinking body and mind, loss of hope and life source

Maybe not everyone feels the pinch

I sit in the sun-baked living room and ponder what our future holds

An urban tale of a smart city's … concrete desert.

I perform with my body enduring the mental trauma of procuring water

It is an everyday ritual...reflect with my body act. 

(Poem Written on 27th April 2024)


























































































My Sincere Thanks to  
SG Vasudev Sir for his support and encouragement 
 Bhagya Ajaykumar for inviting me to the performance and the whole Team of Art Park Bengaluru for Support.
Photography by Bharath Vijay and Sandhya  Lokesh 





Wednesday, April 10, 2024

Mapping Disappearing Thoughts/Dreams



Live Art Tour 9

Curated by Qing Cai




Date 9th March 2024

Venue- The Bengal Foundation 2nd floor

Time –15 minutes

Photography by Daisuke Takeya

With alchemy of Sun, Water and Air – This performance was about thoughts and dreams that appear and disappear. This performance was not loud, was subtle, sensitive, need a sensitive eye to engage and immerse. This performance talks about thousands of dreams of people of the land of Bangladesh that they dream of every day but eventually get lost in the fast struggle of life to live up to their dreams and thoughts in harsh sun, wind and water. Bangladesh is truly a unique place, with water bodies and fertile land that provides a rich and diverse environment for its people.



The songs of the people reflect their dreams and struggles and serve as a powerful reminder of the strength and resilience of this remarkable nation. It resonates with us as an artist as we go through similar existential crises and struggles reflecting on our state of mind. This performance was an attempt to bring this particular state of mind. To Catch hold of the floating thoughts and dreams actualize them. 



"Performance actions were an attempt to bring my psychological state into action. It was a constant struggle to catch hold of thoughts that kept disappearing. Through my performance, I aimed to bring these processes of action and reaction together, to hold onto the thoughts and dreams that kept slipping away."




The performance is to reflect on this state of mind. I used minimal material water, ink filler and my skirt. Water represented my dreams and thoughts.







"I attempted to create a watermark on the floor, but eventually, it vanished due to exposure to the harsh sun and air. Despite this, I persisted in trying to make a mark. I repeatedly used my skirt to make marks resembling waves of thoughts until the once-fancy skirt became dirty and washed away the invisible layers of grey thoughts, making room for fresh ideas. As I continued my action, the audience members dispersed on hearing the announcement for the next performance. I concluded my performance by interacting with nature, watering plants, and symbolically marking a new beginning.


Dimple B Shah 14th March 2024 

Negotiating Weight of Now- Path of Reflection

Live Art Tour 9
Curated by Cai Qing






























Faculty of Fine Arts Dhaka University

Date – 7th March 2024

Duration – 50 minutes

Photography by Mohammad Israt Abu Toimur  and Keya Sarkar Bindu 



























This performance was in response to the history of land and people. The land of Bangladesh is stained, with the blood of innocent lives of both Hindus and Muslims, two hundred thousand women brutally raped and tortured in the bloody history. I was travelling through the land route, and although things had changed, there was a serene landscape in front of my eyes. My mind was still pondering on thoughts of violence and pain suffered by people. I was so uncomfortable for some time that I wanted to get out of these thoughts, but it occurred repeatedly. The long struggle at the border for immigration checks and the bad treatment of officers sparked again the question of human misery and pain. It was my first experience of crossing the borders by land route. Long wait times in queues for 5 hours going for immigration check in both countries, people breaking lines, and no discipline sparked questions about Human values. 



























These experiences had an intense impact on my mind. Things have mostly stayed the same since independence, especially for poor people. Things had not changed much after 1971, carrying all this weight in my mind and heart. I decided to perform. I believe in nonviolence, and I thought of performing on healing and reflecting on the history of the land and the self. The colour white stands for purity and peace. I carry the weight of white cloth and baggage of perfumes on my head, wrapped in corseted cloth in my hand. I carry bowls of stones and rice.


























I approached the platform while playing a tune with my mouth, breathing in the air, and lost in thought. I wore tangled white cotton waste on my head. I came near the site filled with dust and dirt and Started my performance with the Ritual of cleaning the space with a monastic broom and placing the white sheet on the floor.






























 I stood there throwing my deep voice resonating to the landscape around me while in mind the image of people in pain and torture rolled. The cry was both prayer and also pain. From time to time, I was trying to clear the air by swinging a white monastic broom in the air now and then. This performance was about land and people. It was a ritual to erase, relive and cleanse the past. 






























The second part was where I invited my audiences to do simple rituals of resonating with the universe by making designs with rice grains. I applied it on the audience's palm to give positive vibrations and showed them small mirror reflections of the land and them. The rituals to reflect, introspect and resonate with positive vibes in the audience are a process of catharsis. This performance subtly talked about the violent history of innocent people. One needs to observe and immerse in an act of peace. I did not want to answer for violence through violence but with gentle care and humble acts to reflect on ourselves.




Dimple B Shah 17th March 2024


Tuesday, December 19, 2023

Pomegranate Prayer


Collaboration with the Rieko Shimizu

Uratan Concalve 2023, Utkal University of Culture
Bhubaneshwar, Orissa 9th to 12th December 
curated by Umesh Nayak























This performance collaboration started with my spontaneous response to the pomegranate Fruit. During conversations with Reiko, she explained she will use 51 pomegranates to represent 51 Shakti peetha that represent (Sati). I love pomegranate fruit as each fragment of the fruit is complete by itself and represents feminine energy. I instantly said yes to work and collaborate with her. We had a brief conversation with Reiko and I brainstormed for one night how I could collaborate with Reiko and laid a plan for action and collaborations on how and where we perform and how we reach the water pond( as one of the elements for performance was to cleanse the stains and ourselves). I could connect to feminine energy, whatever name we like to call it (The famine energy we experience in physical, emotional and spiritual terms). I wanted to collaborate since it engages me with energy and red seed. I wanted to be involved and engage intimately in making physical and spiritual connections to the seeds and performing. Reiko's collaborator had her way of connecting intimately with pomegranates. The performance was intense, forgetting the harsh Sun was concentrating on the mala of pomegranates opening the mala that Reiko had made 12 knots, 51 pomegranates opening to an unknown self.
























As I opened one by one opening to its essence, squeezed the juice and the elixir of fruit juice was dripping on my body and soul, soaked in its juice and 12 0 clock-sharp sunlight sweat, each drop of each piece of fruit narrating its intense spiritual connection. I felt lost and immersed in that moment stained white sari lay on the floor. The white saree represented a blank page of my life chapter, getting stains in the process of experiencing the moment the sari was washed in the dirty pond water. Finally, we wrap ourselves in a stained and washed sari and share that moment and a stained and washed Saree together. A journey was to an inner space of identity, a spiritual path, a taste elixir connecting to a collaborating partner for that moment became part of yours.

Dimple B Shah 19th December 2023


























Concept note by Reiko Shimizu

柘榴の祈り ~Prayers of Pomegranates

The pomegranate as an emblem of Shakti - the omnipotent power that permeates all existence. Inspired by the scattered remnants of Mother Goddess, Sati, interwoven into a white saree, into 12 knots of pomegranates, uniting and releasing into 51 pomegranates. Two female figures delve into movement, contemplation, action, and interactions, unveiling the essence of Shakti. It penetrates our bodies and souls, every being in the earth and the sky, nurtures and binds all into an interconnected, indivisible whole. Stains on the saree, the marks of life, traces of time are washed away in the pond, an amniotic fluid, the forgotten One - the nurturing expanse of a Mother's womb.








Tuesday, November 7, 2023

Talking to the Cows


(Performing for the Animals)

Sumjin River International Experimental Art Festival (SIEAF)  Gokseong South Korea 2023




























This performance was an overwhelming experience as we performed for the animals on the farm. I took time to know and understand the cows, went around the farm closely observing their behaviour, saw fear in their eyes and were moving away from the humans. As I was watching them, I was thinking about what I would perform for them. The farm animals are fed good food but have a short life to become food for human consumption. The Farm owners instructed us to keep our distance and not to go near pregnant cows. I was moving around, overwhelmed by sadness as they were going slaughtered in future for the food.


 A paradoxical situation curatorial theme was to calm and perform for these animals. At another, this animal was farmed as food for the population, contradicting the perspective of questions and answers. It was unsettling mentally and emotionally to calm and perform for them when we did not care for their life. Every living being has the right to Live in their life and live as they want. Human beings are the most selfish people on Earth. This unsettled mind stayed all through my performance.

 As a believer in Jain's philosophy of non-violence, this question of what would happen to them in future disturbed me and was the only thing on my mind while I performed for them. Headgear made from bamboo sticks and leaves. I tried to establish a connection by playing one smallmouth instrument and also collaborated with musician artists who were playing guitar. I also used my voice to communicate with cows. The rendition evoked a painful mood and emotions I felt for the cows to end the performance by feeding them dried grass. The most touching and turning part during the performance was when the cows started communicating with me by making sounds. Cows that were distancing from us came close. I felt a deep bond with them and asked forgiveness in my mind that I could not help them. This performance was quite emotional and heavy for me to settle down.


The second part of the performance continued in another space where we walked and saw many goats in the open field, responding to the overwhelming presence of many goats. I spontaneously performed and made connections to them for some time. Later, the performance started, and many artists performed near a group of Goats. These poor animals got confused and scared and moved from here to there. 











A few artists in the group scared and panicked them by running behind a herd of goats. The same question came to my mind. Why can't humans become sensitive to these speechless animals? We need to treat them with compassion and love them. How can we co-exist together? Many artist's friends will not agree, and many in general would not agree on the philosophy of non-violence. I was in a state of unsettled thoughts and performed 'Talking to the cows and goats on the farm. I was trying to make a spiritual connection and see them with love and compassion, slowly developing an intimate bond.




























Dimple B Shah
18th September 2023 

Sunday, August 27, 2023

Chronicles of Past and Present ( Growing Gopuram for Future)


BE FANTASTIC

JANARA JAGGA AND KCYAERXHAERE


13th August 2023 at Wheeler Road Flyover under the Bridge

@jaagarnaut @kcymaerxthaere @Befantastic.in










OH! ಎಲ್ಲಿ எங்கே ಬೆಂಗಳೂರು

OH! Elli Eṅkē Bengaluru


OH! Where are you, my dear Bangalore?

I have been searching for you

In the old buildings, on city lanes,

I am searching for you in stories of people, old temples, churches and mosques.

I am searing in the scent of jasmine and in

The old cow sheds

The aroma of hot idli, tea and food

I came to this part of town it took me to my childhood memories of Tamilnadu.

The stories of Blackpally, Cantonment, Cox's Town and Frazer Town bring memories of the colonial period.

The bygone era of people from this area connected to their ancestors through stories of soldiers

The stories extend the connections beyond the borders rooted in Madras and Trichy.

The text and whispers we hear are not just kannada but of Tamil and Malayalam.

Thousands of memories of childhood knocking the subconscious

The old Tamil melodies start playing in my mind

The Temple church and mosques are all in one lane

A wonderful bouche of faiths blended

I am searching to make new connections

As I am walking in

Lanes high street, pottery road, and wheeler road bridge

With houses from the old colonial period, one can only fall in love with Bangalore

Searching through the aroma of food and the scent of the city

Sparking memories and emotions

The houses and city lanes that marked your presence are slowly disappearing.

The path had a unique character that took us to memory lanes fading slowly

Now leading to nowhere

Where are you, my dear Bangalore?

Now you have a new identity with concrete flyovers and under-constructed sites.

The operation for a makeover has torn your heart and soul

You are bleeding inside out

With the dust and revamped soil,

I go through the dissection of the city (body and soul),

Are we going to lose you forever?

You cry out in pain, painful to see you lose your identity with a new makeover.

My heart and soul are looking for you

In the scent of magina jade

I want to see the same old Bangalore

With a heavy heart, I look toward the city

The soul lost under the spark of a thousand lights

Now replaced Sparkling Maggina jade with led lights

We need to re-emerge from the dust and make new homes with old memories

Bloom our hopes under the bridge

Search the scent of jasmine

OH! Where are you, Bangalore?

We want to remember your makeover marked by old memories

Making new memories of the present with a touch of past glory.

We want to see you

spread the scent of Malighe forever

OH! ಎಲ್ಲಿ எங்கே ಬೆಂಗಳೂರು

OH! Elli Eṅkē Bengaluru

OH! Where are you, my dear Bangalore?









Tuesday, May 9, 2023

Death of Desire


Desire, Civilization, Birth

Rendition of Two Installation performance of Ratnabali Kant 
5th and 6th May 2023

Curated by Smitha Cariappa
Organized by Ratnabali Kant Foundation























This performance is a retake of Ratna Bali Kant's live performance titled- 'Death of Desire' I observed her performance video and let my thought flow on how I connect to desires and how to visualize desires of self. I had to give a gap and let the natural idea flow. After two days, I got some vision in a flash and wanted to follow it to see in complete clarity. The concept of performance evolved and developed organically. When I thought to work on my idea, I hit on the doors of Vison of Flash. The color of my desire was vigorous and heavy and gradually started giving a form and then fixed the shade of dark pink. The next step was to work on my sculptural installation.


 I sought the material right to make my sculpture heavy and bold. Acquiring the apt material took three days, then building it took two days. As I was working on the sculpture and developing my installation for performance, various thoughts flowed into my mind about desires. Desires don't have boundaries and can grow wide and tall are unlimited. The acquiring, consuming, un-bounding, overwhelming emotions turning to greed gradually elements started showing their face, and images from my childlike desires to play with kitchen toys appeared.































I played with my desires with deep breaths hinting at my existential self. Desire in humans can have several layers and metaphoric meanings and connotations mixed with negative shade hiding under the bright. There are several aspects of life desires- to have a good partner, love life, luxuries, hunger for power, the satisfying demands of the ego, and many socially set materialistic things there is no limit. All these wishes and unlimited desires are summed up metaphorically with pink cotton candy.


 The eating and consuming cotton candy did not want to finish it wanted to enjoy every bit of it. Metaphorically the desire was in the form of a balloon presented to audiences. The audience blew the balloon with their 'desires then I offered the cotton candy to the audience to devour it.

The Cotton Candy metaphorically represented greed and ballon to desires. I saw many avoid eating it. The journey ended by playing with a balloon loaded with black ink. The climax was to play with death in due course, and then there was an end to this desire. There are various aspects in my work- existential self, the heavy proud body carrying the heavily wrapped pieces of baggage of desires that are visually appealing bold, and attractive. Polyphonic sounds filled the extempo of action representing the presence of self all the time. At last, I released my childlike emotions and playfully braking the ego of desire.


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