• Ether is all that is

    ethereal tree by gr iranna

    To G R Iranna, Ash, in substance, presence or essence implies both an artistic as well as a conceptual engagement. This is not just a sudden addition into his oeuvre, but an organic extension of his predilection towards tactility of his mediums on a scale that is larger than life. Here Iranna is drawn to using ash along with charcoal powder and powdered pigment, as he tenderly overlays the harsh surface of tarpaulin, while merging its presence into his muted colour palette. Some years ago, he began to indulge the blackness of coal powder along with the raw, grainy touch of charcoal, exploring its affinity for impermanence, suitably evoking human vulnerability and fragility of life.

  • GR Iranna

    gr iranna

    For even the most ingenious of artists to combine diverse elements, such as man, king, old monuments, fragrance, charcoal powder and pigment, into a single canvas space by using ash as the medium of execution, would amount to lunacy. Yet this potpourri of mediums and resources is just what artist G R Iranna has dramatized into his interpretation of art at his latest showing at Gallerie Espace, where the void like sparseness lends itself to creating the right mood for showcasing of his attempt at suggesting: ‘Ether is all that is’.

  • From Ash to Ash at Kochi Biennale 2016

    from ash to ash by gr iranna

    The mathematical symbol “ ∞ ”, essentially formed from the union of 2-egg shaped forms, is used to represent a potential infinity. While the symbol itself has an embedded circularity of form, it denotes the formless. The egg-shaped womb, is a culmination of the form with the formless. The womb has a form; the mother in whom the womb resides also has a form; yet motherhood remains formless. The form essentially carries the formless with it, within it. Even Iranna’s choice of material, in this case holy ash or “vibhuti’, is a metaphor for the impermanence of life. While the egg is a symbol of birth and life, the ash it is composed of reminds us of the imminent death.

  • Shadows of the Real

    Entwined in the very roots of being are the impalpable sources of sensations. The body, is a tangible instrument that experiences and breaks the opaqueness of the world. The self too has a body, its exterior dimension, its surface, a biological anchor, and then a mind, its interior dimension, the invisible infinite space, its abstract force, treasurer of indelible impressions, innumerable associations and memories. The mind and body or the inside – outside dialogue is an ongoing one, always undergoing transformation.

  • The Enigma of Departure

    G.R. Iranna’s recent paintings are sites of struggle. Even a cursory glance at them fills the eye with a sense of tremendous dynamism, of volatility and ferment. A closer look reveals a series of conflicts being played out on the picture surface: between a colour and its neighbor; between figure and pigment; between the organic and the technological.

  • Silence and Aggression


    Displacement is never voluntary. It happens at the confluence of forces that are too big to be completely seen, too widespread to be ever described. They don’t seize from individuals their everyday rights directly but dislocate, instead, their personhoods to unfamiliar terrain, paralysing their ability to react. In this way, displacement feeds on existing beliefs and bodies, cannibalising them for the expansion of the conqueror.