BANGALORE: Galerie De’Arts will feature some of Shan Re’s rare and unseen works titled Unfolding of the Self from August 25 to September 15.Shan Re’s works represent the colour blue — color of the sky, ocean and twilight; a colour of inspiration, sincerity and spirituality; the calming colour of truth and moderation; a colour which heightens psychic power and high ideals.She understands and uses the energy of the colour blue to show perspective and positive vibration which opens the flow of energy in her highly sensitised art form.A zen like tranquility surrounds Shan Re’s works, a serene discipline which she admits that she finds a great source of peace, solace and accomplishment.The paintings that seem so free and effortless, however, represent hours spent on individual brush strokes.Shan Re’s paintings are about colours, the soft and translucent shades of willow green, ultramarine blue, amber yellow, and ashen white have a wonderful visual and calming effect.This technical virtuosity allows her to express a subject directly without preplanning; there is a fluency and a sense of spontaneity which can capture a moment, a mood, and yet these paintings seem timeless.For those who know her personally would perhaps understand the depth of the person that she is and the natural force with which she creates her worksShan Re is no trained artist.The incidence of art in her life is itself very intriguing. That is the day when Shan Re took to serious painting and stepped into the world of art and continues her journey as a prolific artist in the world of contemporary Indian art today.Shan Re has defied critics with her unswerving focus on her art and art alone and observes that the scorching inner fires are no longer experienced as pain but instead regards them as a necessary purgation and even accepts and welcomes them for their transformative power.Shan Re started her career with vivid colorscapes, reminiscent of early Roerichs, and then went on to develop an obsession for psychedelic faces that seemed to reflect inner demons.Through the late 90’s Shan established herself as a painter, producing several successful collections like The Nocturnals, Tribal Heads and Haunted FacesDuring 2001 - 2002 she produced a series of landscapes titled Memories of Kulu Valley.In 2003 - 2004 she came out with Nudescapes and several small-format works painted during her travels.Other notable portfolios of this period are Fisherwomen of Goa, Man in the Rusted Nails and Folio of self portraits.From the year 2001 Shan’s female faces gradually became mellow and almost serene.However, her male faces, notably Man in the Rusted Nails — the series of Christ-like images, continued to evoke pathos.Shan’s strength lies in her ability to invoke human sentiment with minimal detailing, flowing colors and simple forms.She often captures her subjects in a moment of contemplation, self-discovery or self-healing.Her figures are set in dramatic dreamlike backdrops that seem to embody a range of human moods.In 2000, Shan started to experiment with free association drawings which she derived from free association writing.Soon she found that she was able to tap into her subconscious and express herself more eloquently than before.By 2006, she produced more than 7000 miniature drawings, each of which is an ode to spontaneity and intuition.But in the context of a more comprehensive perspective, to attain this kind of transcendence as a natural and divine intervention is indeed a miracle.The Unfolding of the Self takes you through the ten golden years of the reinforcing progression of this wonderful and sensitive artist.
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