Ratnadeep Adivrekar

Ratnadeep Adivrekar was born in 1974 in Mumbai, India. He is the son of artist Gopal S. Adivrekar. He received his BFA in painting with first class in 1997 from the Sir Jamsetjee Jeejebhoy School of Art in Mumbai.[1][2]

Ratnadeep Gopal Adivrekar is an artist whose work defies easy definitions, having experimented with a wide range of styles and subject matter, bringing together metaphors from contradictory or unpredicted sources, both historical and contemporary, by using diverse materials and techniques. In fact Ratnadeep's artistic multiplicity, and his resistance to any form of categorisation, can be seen as the consistent theme in his work. The parts of painting have naturalist approximate based on photographic documentations. When a photograph is painted on canvas, the sense of realness in the images are complicated, while they may retain a high degree of verisimilitude, the loss of its mechanical tie to a specific situation. While our eyes perceive these paintings as photography, conceptually we know they are individual interpretations. Ratnadeep has rejected mechanical processes, preferring to explore the visual effects of mechanical technology by hand. Ratnadeep's paintings have usually used techniques which are both time-consuming and physically demanding. Buried within this elaborate surface sometimes are sheets of manipulated expressive color drips transparent enough and mark making, bringing out the rawness of improvisation. In Ratnadeep's works the original source or elements from photographic motifs are patched together in new constellations of allegories thus the paintings have a sort of leaping structure of narratives within narratives. Ratnadeep creates works that have an open-ended narrative and evoke the idea of exploring eternal subjects like existence, death, understanding different facets of philosophy. His work refers directly to the enigma of metamorphosis and his imagery whispers to the subconscious coaxing it to the surface. Making us aware of Ratnadeep's beliefs, the richness of his symbolism but yet mysterious eluding the logically understandable things and combine to make new resonances. He plays with the associational nature of thinking and how often a deliberate act of misunderstanding that can become poetry on canvas. Crowd scenes have become a constant feature in his work in recent years, the systematic-chaos or chaotic-system of crowds from processions and rallies to battles and concerts. The high-octane energy and movement of large gatherings is a reminder, perhaps, of the potential of the crowd or organised mass.

"Born in family of artists, I have a miniscule gap between art and life. My works are evidence of exploration, a commentary on art, contemporary life by combining images and forms to construct on human reality. Our socio-politically fragmented society is saturated with opulence of images, which signify ideas of radical modernist utopia. As an archivist of the new world, processing these images and forms has its origin based in experiences, which leads to the relationship between our sense of philosophies, self and world. I’m interested in how meaning is created. My paintings deal with subjects that carry a historical set of references, but collective memory is constantly challenged by enigmatic prophetic actions, concealed in personal folds of the temporal linearity…I believe I am an observer from distant at humanity with deliberation to miniscule details."[3] – Ratnadeep Gopal Adivrekar

Ratnadeep's desire to see everything at once is apparent in many of his paintings, perhaps most overtly in the overlay of one image on top of others, as if it were possible not just to see through a particular image but to hold them both in a sort of suspension. In these superimposed, suspended and translucent images the structure of narratives is overt. Each of the images is both there and not-there, as the eye is drawn from one to the other. Ratnadeep's works invite the spectator to consider. His task is to reintroduce their significance into a tension with form – but without allowing the images he uses to fall into utter nostalgia. His work is to help the spectator re-evaluate the power of the static image, its ability to make reference to our histories and its power to reinvoke our thoughts and our participation through small acts of attention. ⁶From catalogue "Proverbial In(ter)ventions 2009"

• 2017 – ‘MVUVM Award’ for Achievement in Field of Art.
• 2003 – The Harmony Emerging Artist Award presented by the Reliance Art Foundation.[2][6]
• 2002 – The Bendre Husain Scholarship.[2]
• 2002 – Maharashtra State Art Award, Jehangir Art Gallery, Mumbai.[2]
• 2001 – National Scholarship by Lalit Kala Akademi, New Delhi.[2]
• 1999 – The Governors Prize at the Exhibition of The Bombay Art Society.[2]
• 1996 – Best Painting Award at The Art Society of India Exhibition.[2]
• 1994,96 – Merit Certificate the Exhibition of The Bombay Art Society.[2]

• Proverbial In(ter)ventions: Ratnadeep Gopal Adivrekar (catalogue). https://museum.nus.edu.sg/publications-details?ids=255: NUS Museum. 2009. ISBN 978-981-08-3241-4.CS1 maint: location (link)
• Ratnadeep Gopal Adivrekar: Galerie Schlassgoart (catalogue). Galerie Schlassgoart, Luxembourg. 2011. ISBN 2-919969-34-X.
• Sarang, celebration of India’s cultural wonders in Korea

• Official site
• Images of work at The Arts Trust