My Highlights from Art Basel in Hong Kong 2014
Atul Dodiya first chose the common shop shutter as a medium in 1999 - 2000. Alluding to India's commercial capital - Mumbai, also his home town, the works included a careful juxtaposition of images on the shutter and canvas, playing with the notions of open/closed, private/public and what one chooses to reveal or hide. The narrative of these three dimensional works change and depends upon whether the metal shutter is open, closed or partially down.
Almost ten years later Dodiya created a new series entitled Malevich Matters & Other Shutters. "These images of roller shutters are neither austere conceptualist devices, nor abstract depictions of hardware pared down to its mechanical logic. Rather, they are themselves Dodiya paintings: images shaped from images, hand crafted from surprising collocations of pictorial and textual data drawn from diverse sources, surfaces annotated with extracts from the artist's copious private archive of references." (R. Hoskote, Dodiya Standard Time, New Delhi, p. 51)
Signature: signed, titled, dated and inscribed 'ATUL DODIYA / "Fool's House" / -2008/2009 / Oil, acryclic with marble dust, / on canvas / - 96" x 60" (on the reverse); further signed ATUL, 09' (on the reverse)
Image rights: [Christie's](http://www.christies.com/sales/south-asian-modern-contemporary-art-march-2013/)
New Delhi, Vadehra Art Gallery, Atul Dodiya: Malevich Matters & Other Shutters, March - April 2010
London, Saatchi Gallery, The Empire Strikes Back: Indian Art Today, January - May 2010
Lille, Tri Postal, La Route De La Soie - The Silk Road, October 2010 - January 2011
Atul Dodiya: Malevich Matters & Other Shutters, exhibition catalogue, New Delhi, 2010
L. Harris, 'Lie of the Land', Art India, Mumbai, Volume XV, Issue I, Quarter I, 2010, p. 64 (illustrated)
M. Menezes, 'Shop Window Display', Art India, Mumbai, Volume XV, Issue II, Quarter II, 2010, p. 94 (illustrated)
E. Booth-Clibborn, R. Cork and B. Sewell, The History of the Saatchi Gallery, London, 2011, p. 791 (illustrated)
Vadehra Art Gallery, New Delhi
Acquired from the above by the present owner
Atul Dodiya has produced a body of work that defies neat categorization, ranging from paintings and works on paper to street art and sculptures, encompassing numerous different styles and seamlessly intertwining Western art history with the history, myths, folklore, and popular culture of India. He credits Mumbai (formerly Bombay) for his predilection for such heady juxtapositions: “I was born and brought up in Bombay, and the city’s incredible diversity has been a major influence on me,” he says. Dodiya came to prominence in the early 1990s for his hyperrealist depictions of middle-class Indian life and his exuberant paintings on the security shutters of shops throughout Mumbai. Recently, he has paid homage to the marginalized and the poor in a series of exquisitely sensitive watercolors depicting, for example, a plumber, a scribe, or a painter.
Indian, b. 1959, Mumbai, India, based in Mumbai, India