ANTONIO PURI LARGE WORKS
Six Shades of Blue | 505 x 361 | Installation at MAT, Tolima Museum of Art, IbaguĂŠ, Colombia, 2018 ( Collection of Alex Puri)
ARTIST STATEMENT
“My expression of the self continuously evolves in an effort to challenge perceptions and deconstruct identifying labels used by others. Constructs of different aspects of the self are limited; is my existence a microcosm within the universe or do I make art that transcends individuality to connect with Oneness?Are all descriptions of who I am truly encompassing? My art comes from personal expression. It is multilayered and complex with veneers, glazes, varnishes of emotions, transgressions, singularity, obsession, and enigma. I am interested in comparing connections between my eastern roots and my western experiences. I embrace the possibility that we can exist in a world free from labels.�
6 Antonio Puri¹s Abstract Paintings by Donald Kuspit
Is there still life in abstract painting, and if so what kind and quality of life? These are the questions that are raised by Antonio Puri¹s abstract paintings. They¹re inevitable after a century of abstraction--a century since Kandinsky¹s gestural abstraction and Malevich¹s geometrical abstraction emerged. In 1935 Alfred Barr declared them the be-all and end-all of avant-garde creativity. But a lot has happened since then, especially the academicization and conventionalization of avant-garde art, and with that of high abstraction, whatever its expressive form.
that the Buddhist attitude of compassionate detachment seems a better way of surviving emotionally in the modern secular world than the Christian emphasis on salvation through suffering. Newman¹s Stations of the Cross are perhaps the climactic expression of Christian spirituality in abstract art, and with that the theory that suffering is the exclusive way to otherworldly transcendence. For the Buddhist, spiritual transcendence is a practical this worldly matter, not a privilege of ritualistic suffering unto deliberate death.
So the question is to what use Puri puts gestural abstraction. Does he breathe fresh life into it--fresh spiritual life, to recall Kandinsky¹s view, stated in 1912, that abstract art alone keeps spiritual consciousness alive in materialistic modern times, and Motherwell¹s assertion, in 1951, that ³abstract art is a form of mysticism?² Is this still the case at the end of the 20th century? Can gestural painting still have spiritual import? Puri¹s New Millennium paintings suggest that it can. But with an important difference: Puri¹s abstractions are rooted in Buddhist rather than Christian spirituality, as Kandinsky¹s and Motherwell¹s were, however different their forms. Kandinsky is explicit about his Christian sources, Motherwell less so, although his Spanish Elegies have been understood to be crucifixions in all but name. Malevich¹s Suprematist paintings have been said to be Russian Orthodox icons in abstract disguise, or rather to have made their innate abstractness explicit.
It must be emphasized that it makes no sense to privilege Eurocentric Christianity as a superior embodiment of spiritual consciousness in an increasingly global and specifically Asiaoriented society. Eurocentric Christianity is thus no longer the necessary basis for a genuine spiritual abstraction. In a sense, Buddhism is more realistically spiritual than Christianity, for it aims at enlightenment rather than resurrection. Transcendence involves achieving universal consciousness rather than personal salvation. Buddhist universal consciousness accords well with abstract art¹s ambition to communicate universally (transculturally) through its dialectical use of the contradictory universal languages of geometry and gesture--to communicate and symbolize fundamental truths through the dialectic of fundamental forms.
In other words, Christianity no longer seems to be the spiritual point, at least for Western artists. No doubt this has something to do with the convergence of East and West through globalization, and with that the attempt to reconcile their spiritual differences. These are not merely exotic differences: spiritual otherness is an obstacle to practical harmony. But the decreasing importance of Christian spirituality to abstract artists also has to do with the fact
Puri is well-positioned to take the Buddhist path--the most important revolution in attitude and concept that abstract painting has had since its implicitly Christian beginnings. As A. M. Weaver writes, Puri, a native of India, ³embraced Buddhist concepts,² which for him meant ³adopting a practice of conscious existence and awareness of the completeness and interrelatedness of every aspect of life.² The recurrent circle in Puri¹s work conveys this completeness and interrelatedness, even as it suggests the self-containment that results from constant consciousness of them. ³Puri¹s circles are mandalas awash with color, drips and undulating splashes of paint.²
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Mandalas abound, but good paintings-aesthetically convincing paintings--are rare. The painterly character of Puri¹s paintings is what makes them good, not their Buddhist import. The artistic issue is how Puri spiritualizes his paint-how he makes the mundane material of paint ³vibrate² spiritually, that is, convey the cosmic consciousness he associates with Buddhism. It can only be achieved by detachment from desire. The paradox of Puri¹s paintings is that they resonate with desire and passion, conveyed through their painterliness, even as their circles—a geometrical form that symbolizes eternity and integrity in many cultures--convey the cosmic consciousness that transcends desire. It is this paradoxical synthesis of sensuality and spirituality—passionate attachment to sense experience and dispassionate detachment from the lifeworld with no loss of concern for it--that gives Puri¹s paintings their aesthetic resonance and expressive complexity. He is clearly an abstract expressionist, as his brilliant polyptych Conversation with Pollock, 2003--he¹s ingeniously fragmented the Pollock all-over mural painting, serializing it into the discreet easel paintings in which it originated--makes clear. Kali¹s Demise, 2006 is another abstract expressionist tour de force, whatever its spiritual aspect. Kali is the Hindu goddess of destruction. And the Essence Series, 2005, with their squares--another geometrical symbol of cosmic wholeness and the ³supreme² modernist icon, as Malevich emphasized--are elegant distillations of gesture and surface. Puri is clearly exploring every aspect of abstract surface, from the gesturally extravagant to the meticulously refined. He tends to work in series, reaffirming the modernist idea that the creative process--virtually every work is a process painting--matters more than the particular aesthetic product that results from it, however much that product must stand on its own aesthetic merits. As Weaver writes, Puri¹s paintings ³attempt to place traditional Asian spiritual concepts within the context of modernist
and postmodernist practice.² But my point is that their edifying spiritual effect depends on the edifying aesthetic effect he achieves through such practice. But the real secret of Puri¹s aesthetic success--the spiritual beauty and expressive richness of his paintings--involves what he calls his ³modified Batik technique.² It involves, as he writes, ³using wax as a resist,² which allows him ³to reveal several layers of paint, which would ordinarily get covered up.² ³After the wax has been applied the fabric is dipped into a dye....Thin lines appear where the pigment is able to penetrate the crackled wax surface. This process can be done any number of times, depending on how many colors are going to be on the fabric.² In other words, it is not simply the layering that matters, but the transparency of the layers by reason of the wax on which they are painted. The expressionistic sedimentation of paint is a familiar way of creating tangible texture, but the transparency afforded by the wax creates an effect of translucent depth--of the inner luminosity and unwavering interiority associated with spirituality in all cultures. Puri¹s modified Batik technique may be Asian in origin--²batik is an ancient technique used in Tibet, Nepal, and India,² and ³it has traditionally been used on fabrics such as cotton or silk²--but it could just as well be avant-garde: it satisfies the requirements of modernist painting, that is, painting which emphasizes the medium at the expense of whatever image may emerge from its handling. Even the ancient Asian Mandala has its equivalent in modern Western geometrical abstraction, suggesting the universality of the spiritual aspirations and contemplative function innate to both. It is ultimately the universal modernist dimension of Puri¹s paintings that makes them aesthetically convincing and authentically spiritual.
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Death of an Immortal | Modified Batik on canvas, with acrylics and oils | 355.6 x 241.3 cms
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Existence | Modified Batik on canvas, with acrylics and oils | 355.6 x 241.3 cms
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Revelation | Modified Batik on canvas, with acrylics and oils | 360 x 241 cms
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Melting Pot | Modified Batik on canvas, with acrylics and oils | 341 x 281 cms
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5 | Modified Batik on canvas, with acrylics and oils | 326 x 287 cms | ( Collection of Alex Puri)
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Inner Circle 2 | Modified Batik on canvas, with acrylics and oils | 242x 224 cms
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Dravidian´s cure | Modified Batik on canvas, with acrylics and oils | 213.4 x 508 cms
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Monumental - Antonio Puri ‌the good artists are those who only obey their instincts. Richard Serra
Antonio Puri’s artwork approach to a kind of work that we can define as an expanded field of painting, since it is not only about works of art created from pigments mixed with other binding media applied on the surface of the canvas, but it uses unorthodox techniques of art, particularly batik (traditional technique in some regions of the African continent or in countries as India, Malaysia, Indonesia or Thailand, among others); an ancestral practice that consists of applying layers of wax or hot paraffin on the surface of the fabric to block the fields, points or lines that do not wish to dye, reserving the base color to prevent the penetration of the pigmentation, which is applied by immersion of the textile . This non-pictorial resource allows this creator to move between the construction of a geometric abstraction of a rational nature and the atmospheres creation that give depth in the sense of lyric, in other words, conceive pieces of a constructivist neo-plasticism in which structure and design forms, forces and rhythms, that far from any rigid or radical intention, provide us an emotional richness. In each one of the art pieces the artist reduces the forms to precise lines and colors to open spaces, in which only the elementary prevails in an attempt to reach the essence, thus, creating harmonious structures of stained fields, so we can say that we are in front of one of the artists who formally finds the tool to develop metaphysical thinking in a more accurate way. His geometric style, attached to abstraction, is characterized by planning the painting on rational principles of objectivity and universality, and therefore, defending the use of neutral elements that give clarity, precision and balance to the work, to achieve a composition logically structured in which creates an introspective visual language, in which neither the artwork in its totality
nor any of its parts, represent objects of the visible world, but visual paroxysms of great impact. Antonio Puri creates new compositions by demanding ranges by leaving the pictorial mixture to become an independent factor that is incorporated into the construction or phases in the process of textile pigmentation, making this traditional technique, an autonomous and independent artistic discipline, the batik. His work responds to a mandate of absolute sincerity and correspondence with his nontheistic or dharmic philosophical practices; as well as the belief in which the artist as an individual expresses himself through the graphic-pictorial plane through gesture and physical action; what results in canvases whose stylistic categorization can be linked around two basic inclinations: the emphasis on dynamic and energetic movement, as well as the contrast with the reflective approach of the geometric shapes that stand out in the fields of color, giving result to an organic geometry. His works are characterized also by a vigorous rhetoric, generally of monumental dimensions, with large areas of bright colors and minimum elements in which naturalistic figuration is eliminated. A conception of territoriality or the surface of the painting as all over (coverage of the surface) to signify an open field without limits on the surface of each piece. Each piece becomes an infinite space in which aerial shapes are noticed through the presence of planes, stripes or curves that extend until they meet again at their ends, in what we can define as circles inside circles or concentric circles, granting depth and constant movement to the plastic image. Recurrent circular forms, whose significations refer us to the idea of perfection, equality, the absence of division or distinction; and nevertheless, the integration with the surface by means of stains that invade the pure fields of the circular forms, the idea of unity persists, of the absolute that contains the other forms and that symbolize the last
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Heavenly Sin Modified Batik on canvas, with acrylics and oils 303 x 320 cms
stage of interior perfection of the being. This is how Antonio Puri deals frontally with the pictorial space, without hierarchy between the different parts of the canvas that move towards its limits and whose gestures of its atmospheres fall within the material and emotive tendencies of the so-called lyrical abstraction, since they build as free forms in an interior need of the artist. Rafael Alfonso PĂŠrez y PĂŠrez.
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Outside the Mandala | Modified Batik on canvas, with acrylics and oils | 303 x 320 cms | ( Collection of Alex Puri)
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Tisra Til | Modified Batik on canvas, with acrylics and oils | 264 x 300 cms
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Fractured Refletions | Modified Batik on canvas, with acrylics and oils | 302 x 312 cms | ( Colletion of Chandigarh Museum)
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Nondual Duality | Modified Batik on canvas, with acrylics and oils | 362 x 320 cms
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Heart & soul | Acrylics on canvas | 300 X 320 cms
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Vortex I & II, diptych | Mixed Media on Canvas | 309 x 366 cms
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Silent echoes 1 & 2 | Mixed Media on Canvas | 150 x 576 cms | (colletion of David Pompliano)
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Kali´s demise | Mixed Media on Canvas | 165 x 418 cms
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Stretched too far | Mixed Media on Canvas | 224 x 401 cms | (colletion of David Pompliano)
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Ephemeral threads | Mixed Media on Canvas | 152.4 x 254 cms
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Misplaced | Mixed Media on Canvas | 240x 365 cms
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The one I missed | Modified Batik on canvas, with acrylics and oils | 214 x 389 cms | (Colletion of Alex Puri)
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Eureka | Acrylics on Canvas | 242 x 455 cms
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Evolved devolution | Mixed Media on Canvas | 152 x 12192 cms
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Conversation with Pollock | Acrylics and Oils on Canvas | 290 x 504 cms
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Bindi | Mixed Media on Canvas | 188 x244 cms
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Oneness | Modified Batik on canvas, with acrylics and oils | 350 x 301 cms
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Anami | Modified Batik on canvas, with acrylics and oils | 304 x 466 cms
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Agam | Modified Batik on canvas, with acrylics and oils | 303 x420 cms
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Angelitos negros | Mixed Media on Canvas | 388 x 303 cms
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Six shades of blue | Modified Batik on canvas, with acrylics and oils | 505 x 361 cms | (Colletion of Alex Puri)
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Installation at MAT (Tolima Museum of Art) IbaguĂŠ, Colombia, 2018
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Antonio Puri
Education 1995 - University of Iowa College of Law, Iowa City, IA (JD) 1994 - College of William and Mary School of Law, Madrid, Spain 1989 - Coe College, Cedar Rapids, IA (BA in Fine Arts and English) 1986 - Academy of Art, San Francisco, CA
Selected Solo Exhibitions 2019 Museo de Arte del Tolima, Monumental, Ibague, Colombia La Cometa Gallery, Visions in Concrete, Bogota, Colombia 2018 Elvira Moreno Gallery, Concrete + Structure + Multiples, Bogota, Colombia (catalog) 2017 Sundaram Tagore Gallery, Antonio Puri: Paintings, Singapore Casa Tres Patios, Attaching Detaching, Medellin, Colombia 2016 Government Museum and Art Gallery, I love the beauty of grey, Chandigarh, India (catalog) 2015 Nu Art Gallery, Layers, Santa Fe, NM Twelve Gates Gallery, Defining Home, Philadelphia, PA 2014 Loft Gallery, Varna, Mumbai, India 2012 Art Depot, Weight of my soul, Innsbruck, Austria (catalog) Twelve Gates Gallery, Multiples, Philadelphia, PA Nu Art Gallery, Centered, Santa Fe, NM 2011 Symbol Art Gallery, Movement, Budapest, Hungary 2010 Penn State: Pennsylvania College of Technology Art Gallery, I AM, Williamsport, PA (catalog) 2009 Robert Roman Gallery, The Tenth Door, Scottsdale, AZ Rosenfeld Gallery, Antonio Puri, Philadelphia, PA 2008 The Guild Gallery, Antonio Puri: The Tenth Door, New York, NY (catalog) 2007 Rosemont College, Push & Pull, Rosemont, PA 2006 Heineman Myers Contemporary Art, Journey into Mysticism: Abstract Paintings by Antonio Puri, Bethesda, MD West Chester University, Journey into Mysticism: Abstract Paintings by Antonio Puri, West Chester,PA(catalog) The Noyes Museum of Art, Path of Cosmologies & Technology, Oceanville, NJ (catalog) - 2 person 2005 Philadelphia Art Alliance, Outside the Mandala, Philadelphia, PA 2004 chashama @ 234 W 42nd St, No Trespassing, New York, NY 1999 Planet Art Gallery, Antonio Puri, Cape Town, South Africa
Selected Group Exhibitions 2019 Sundaram Tagore Gallery, Alterations Activation Abstraction, New York, NY 2018 Sundaram Tagore Gallery, Art Stage, Singapore 2017 Sundaram Tagore Gallery, Art Stage, Singapore AGAS, curated by Euginia Tan, Fiction of Precision, Singapore Beatriz Esguerra Art, Group show, Bogota, Colombia 2016 Sundaram Tagore Gallery, Summer Group Show, New York, NY Penn State: College of Technology, Take 10, Williamsport, PA (catalog) 2015 Delaware Art Museum, Layering Constructs, Wilmington, DE (catalog) Delaware Center for the Contemporary Arts, Wilmington, DE (catalog) 2014 Print Center, Pressed and Bound, Philadelphia, PA (catalog) 2013 India Art Fair, Loft gallery artists, New Delhi, India
West Chester University, McKinney and Knauer Art Galleries, Pintura Fresca, West Chester, PA Tria Gallery, Malescapes, New York, NY 2008 Salisbury University Art Gallery, Into Intuition: Towards a Redefinition, Salisbury, MD Tabla Rasa Gallery, Erasing Borders 2008, Brooklyn, NY The Guild Gallery, Erasing Borders 2008, New York, NY Corcoran Gallery of Art’s Gallery 31, Art Anonymous, Washington, DC Brownson Art Gallery, Manhattanville College, Erasing Borders 2008, Purchase, NY Hammond Museum, Erasing Borders 2008, North Salem, NY Affordable Art Fair, The Guild Gallery, New York, NY Queens Museum of Art, Erasing Borders 2008, Flushing Meadows, NY (catalog) California Institute of Integral Studies, Pintura Fresca: The Beat of Global Abstraction, San Francisco, CA (catalog) Musée du Chateau, Arthur Secunda et ses amis, Montbéliard, France (catalog) Rosenfeld Gallery, Gigantic Small Works Show, Philadelphia, PA 2007 The Guild, Erasing Borders: Indian Artists in the American Diaspora, New York, NY Queens Museum of Art, Erasing Borders: Indian Artists in the American Diaspora, Queens, NY Heineman Myers Contemporary Art, Colorfield Remix: Saturated, Bethesda, MD Artyfact Gallery, Out of our Minds, Singapore Gallery 435, Is Abstract Art Dead, Slough, UK Bergen Museum of Art and Science, Works from the Collection; The first 50 years, Paramus, NJ 2006 The Noyes Museum of Art, Telling the Story: Artists Books, Oceanville, NJ ARC Gallery, Gates Project, Chicago, IL Fort Mason Center, Gates Project, San Francisco, CA chashama @ 208 West 37th St., Abexbox, New York, NY The Gallery at Penn College, ReMix - Wax and the Intuitive Process, Williamsport, PA 2005 SomArts Cultural Center, Bayennale presents Crossings: a gathering of artists, San Francisco, CA Susquehanna Art Museum, Re Pop, Harrisburg, PA The Noyes Museum of Art, Encore: More from the Permanent Collection, Oceanville, NJ Moore College of Art & Design, A Show of Hands - MANNA Auction, Philadelphia, PA 2004 Bergen Museum of Art and Science, Four Visions: Transcultural New Jersey, Paramus, NJ (catalog) The Noyes Museum of Art, Altars, Icons and Symbols: Exploring Spirituality in Art, Oceanville, NJ (catalog) Susquehanna Art Museum, Inner Circles, Harrisburg, PA (catalog) Sharadin Art Gallery, Kutztown University, Inner Circles, Kutztown, PA (catalogue)
Bibliography 2017 Blouinartinfo, Non-Identity: Antonio Puri at Sundaram Tagore
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Gallery, Singapore, October 03 Nair, Uma, The intricate tapestries of this artist are an ode to Le Corbusier’s concrete works, September 21 Ochoa, Ursula, Sin dogmas, sin etiquetas, sin ataduras: Antonio Puri en C3P, El Mundo, May 13 Libertad de etiquetas y de apegos, El Colombiano, April 23 2016 Badnore inaugurates painting exhibition, Hindustan Times, Chandigarh, September 28 Kaur, Amarjot, Fifty billion shades of grey, Tribune, September 27 Parul, Chandigarh-born US artist to pay tribute to Le Corbusier, The Indian Express, September 27 Celebrating the grey of the city of his birth, Hindustan Times, Chandigarh, September 28 2015 Pant, Neha, An Artist’s attempt to end discrimination on skin color, Hindustan Times, Dehradun, India, August 29 Ramola, Ajay, Woodstock School alumni Puri’s project on caste discrimination, Tribune, Mussoorie, India, Aug 28 Lahu ka rang ek phir kyon hai bhed, Amar Ujjala, Mussoorie, India, August 2014 Sen, Debarati, Artist Antonio Puri showcases in the city, Times of India, Mumbai, India, February Dalan, Phorum, What color is your skin, The Guide, Ahmedabad, India, January 5 Fowler, Marie, Rosemont exhibit features a melding of cultures, forms, Main Line Times, September 20, PA Donohoe, Victoria, Rosemont College, The Philadelphia Inquirer, September 16, Pennsylvania Gargus, Nicole Drumheller, Rosemont College, Montgomery Newspapers Ticket,September 12/13, Pennsylvania Corbett, Jennifer, Montessori School gets special visitor, The News Journal, February 10, Delaware Rajendran, P., Art of the Diaspora, India Abroad, February 9, New York Deitch, Lew, The Universality of the Circle, ArtBook of the New West, Spring/Summer, Arizona 2006 Dawson, Jessica, Antonio Puri, Far-Out Man, The Washington Post, December 23, District of Columbia Schafer, Karen, Remembering his Dharma, Puri does it his way, The Gazette – Bethesda, December 20, Maryland Jane Golden, Robin Rice, and Natalie Pompilio, More Philadelphia Murals, Temple University Press, 2006, p.145 Donohoe, Victoria, West Chester University, The Philadelphia Inquirer, September 10, Pennsylvania Talbot, Mary, Nirvana: three takes, Tricycle – The Buddhist Review, Fall 2006, New York Sozanski, Edward, The decoys at the Noyes, other fine art on its bill, The Philadelphia Inquirer, July 9, PA Johnson, Pat, Artists’ Collaboration Weds Eastern Spirituality to Modern Technology, The Sandpaper, June 28, NJ Murray, Rick, Haddon Township artist displays work at Noyes, Haddon Herald, May 25, New Jersey NJN Public Television – State of the Arts, Wired, May 19, New Jersey Chambless, John, A new home for the arts, Daily Local News, February 10, Pennsylvania Donohoe, Victoria, American emphasis at Holland, The Philadelphia Inquirer, February 5, Pennsylvania Quillman, Catherine, A new way of pairing art, people, The
Philadelphia Inquirer, February 5, Pennsylvania Rice, Robin, Spring Arts Preview, Philadelphia City Paper, January 19 – 26, Pennsylvania Hartmann, Cassidy, The Art of the Deal, Philadelphia Weekly, January 11-17, Pennsylvania Cornfield, Josh, Artist pays price for party, Metro Philadelphia, January 4, Pennsylvania Harrington, Michael, 7 Days - Entertainment Highlights, The Philadelphia Inquirer, January 1, Pennsylvania 2005 Rosof, Libby, Technical Bravura, Roberta Fallon and Libby Rosof’s Artblog, December 29, Pennsylvania DeCastro, Lavinia, Lights help showcase mural, Courier Post, December 29, New Jersey Donohoe, Victoria, Holland Art House, The Philadelphia Inquirer, October 17, Pennsylvania Sablove, Ricki, Susquehanna Art Museum Exhibits 360 Degrees of Unity, Alternative Central, Sep/October, PA Lewis, Zachary, Art to bring you full circle, The Patriot News, July 18, Pennsylvania Pizzoli, Frank, Susquehanna Art Museum Presents “Inner Circles” & Alexander Calder, Alternative Central, May, PA Gehman, Geoff, ‘Inner Circles’ exhibit stretches and burns, The Morning Call, February 12, Pennsylvania Baver, Kristin, Modern art comes full circle, The Keystone, February 5, Pennsylvania
Catalogue Essays 2018 Fonseca, Alejandra; Alonso, Rodrigo, Concreto + Estructura + Multiples, Elvira Moreno Gallery, Bogota, Colombia 2016 Rogers, Elizabeth; Bhalla, Seema, I love the beauty of grey, Government Museum Chandigarh, India 2015 Hixson, Maiza, Isaacs; Susan J., Winslow, Margaret,Layering Constructs, Delaware Art Museum, Delaware 2011 J. Susan Isaacs, Contrast, Serpentine Gallery, Pennsylvania 2010 DaCosta, Virginia and Dave Mukherji, Parul, I AM, Pennsylvania College of Technology Gallery, Pennsylvania Pande, Alka, India Awakens: Under the Banyan Tree, Essl Museum, Austria 2009 Dave Mukherji, Parul, Mahatma Gandhi Institute, Visual Arts of the Indian Diaspora, Mauritius 2008 Klein, Paul, Pintura Fresca, California Institute of Integral Studies, California Kumar, Vijay, Erasing Borders 2008, Queens Museum of Art, New York Rice, Robin, The Tenth Door Paintings, The Guild Gallery, New York 2006 Kuspit, Donald, Antonio Puri’s Abstract Paintings, Heineman Myers Contemporary Art, Maryland Zimmer, William and Weaver, A.M., Noyes Museum of Art, New Jersey 2004 Miller, Debra, Inner Circles, Susquehanna Art Museum, Pennsylvania Kolodzei, Natalia, Four Visions: Transcultural New Jersey, Bergen Museum of Art and Science, New Jersey
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Selected Colletions Post & Schell, Washington, DC Ritz Theatre, Oaklyn, NJ Dansko, West Grove, PA Moriarty & Associates, P.A., Tampa, FL The Noyes Museum, Oceanville, NJ Bergen Museum of Art and Science, Paramus, NJ NY Hospice Program, New York, NY chashama, New York, NY Direct Insurance, Tampa, FL Planet Art Museum, Cape Town, South Africa Grafisch Atelier Daglicht, Eindhoven, Netherlands New Port Tampa Bay - Waterfront Condos, Tampa, FL Penn State: Pennsylvania College of Technology, Williamsport, PA Arizona State Credit Union, Scottsdale, AZ Alfred I. duPont Hospital, Wilmington, DE MusĂŠe du Chateau, MontbĂŠliard, France National Art Gallery, Mauritius Museum of Art, Satu-Mare, Romania Wagner Foundation, Serbia Essl Museum, Vienna, Austria Government Museum and Art Gallery, Chandigarh, India High Court (landmark building designed by Le Corbusier), Chandigarh, India Chandigarh Lalit Kala Academy, Chandigarh, India Punjab Lalit Kala Academy, Chandigarh, India
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list of artworks Cover:
Death of an Immortal | Modified Batik on canvas, with acrylics and oils | 355.6 x 241.3 cms
Page: 05
Six Shades of Blue | 505 x 361 | Installation at MAT, Tolima Museum of Art, Ibagué, Colombia, 2018 ( Collection of Alex Puri)
08
Death of an Immortal | Modified Batik on canvas, with acrylics and oils | 355.6 x 241.3 cms
09
Existence | Modified Batik on canvas, with acrylics and oils | 355.6 x 241.3 cms
10
Revelation | Modified Batik on canvas, with acrylics and oils | 360 x 241 cms
11
Melting Pot | Modified Batik on canvas, with acrylics and oils | 341 x 281 cms
12
5 | Modified Batik on canvas, with acrylics and oils | 326 x 287 cms | ( Collection of Alex Puri)
13
Inner Circle 2 | Modified Batik on canvas, with acrylics and oils | 242x 224 cms
14,15
Dravidian´s cure | Modified Batik on canvas, with acrylics and oils | 213.4 x 508 cms
17
Heavenly Sin | Modified Batik on canvas, with acrylics and oils | 303 x 320 cms
18
Outside the Mandala | Modified Batik on canvas, with acrylics and oils | 303 x 320 cms | (Collection of Alex Puri)
19
Tisra Til | Modified Batik on canvas, with acrylics and oils | 264 x 300 cms
20
Fractured Refletions | Modified Batik on canvas, with acrylics and oils | 302 x 312 cms | ( Colletion of Chandigarh Museum)
21
Nondual duality | Modified Batik on canvas, with acrylics and oils | 362 x 320 cms
22
Heart & soul | Acrylics on canvas | 300 X 320 cms
23
Vortex I & II, diptych | Mixed Media on Canvas | 309 x 366 cms
24,25
Silent echoes 1 & 2 | Mixed Media on Canvas | 150 x 576 cms | (colletion of David Pompliano)
26
Kali´s demise | Mixed Media on Canvas | 165 x 418 cms
27
Stretched too far | Mixed Media on Canvas | 224 x 401 cms | (colletion of David Pompliano)
28
Ephemeral threads | Mixed Media on Canvas | 152.4 x 254 cms
29
Misplaced | Mixed Media on Canvas | 240x 365 cms
30
The one I missed | Modified Batik on canvas, with acrylics and oils | 214 x 389 cms | (Colletion of Alex Puri)
31
Eureka | Acrylics on Canvas | 242 x 455 cms
32,33
Evolved devolution | Mixed Media on Canvas | 152 x 12192 cms
34,35
Conversation with Pollock | Acrylics and Oils on Canvas | 290 x 504 cms
36
Bindi | Mixed Media on Canvas | 188 x244 cms
37
Oneness | Modified Batik on canvas, with acrylics and oils | 350 x 301 cms
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Anami | Modified Batik on canvas, with acrylics and oils | 304 x 466 cms
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Agam | Modified Batik on canvas, with acrylics and oils | 303 x420 cms
40
Angelitos negros | Mixed Media on Canvas | 388 x 303 cms
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Six shades of blue | Modified Batik on canvas, with acrylics and oils | 505 x 361 cms | (Colletion of Alex Puri)
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Installation at MAT (Tolima Museum of Art) Ibagué, Colombia, 2018
*All works listed were produced between 2001-2010
Credits ARTWORKS. Antonio Puri Texts. Donald Kuspit | Rafael Alfonso Pérez y Pérez Photography. Antonio Puri | Elvira Moreno Gallery Archives Graphic Design. Ariel C.Zaldúa Special thanks to Elvira Moreno Gallery
DISCLAIMER COPYRIGHT © 2019 ANTONIO PURI. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system without permission in writing from the publishers.