He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt. In his youth, Sharma would draw with stones on walls and floors. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. It is not surprising then that his medium of choice is printing. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. It is often in childhood that paths are set for what we will become. 'In this work in particular I feel that a true work of art is the creation of an experience from the interaction between the human self and the outside world' Image size: 50 x 33 cm / Sheet size: 79 x 55 cm Mukesh Sharma, Frenzy M3, Lino-cut chin-coll’e on German Ivory paper The results are both compelling and honest. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. In the patterns of the arable fields to the jali's (carved screens) in the architecture. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. His latest solo show in Tokyo, Love Tour, sold out pre and during the opening night.There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. Since his artistic debut in 2006, he has had several solo exhibitions and participated in many group exhibitions, both nationally and internationally. Still, his expression is very much masculine, filled with in your face-statements that represents a young and vigorous group of upcoming artists. He has a cheerful, very much recognizable and almost feminine touch butterflies, doves and hearts in soft, nonetheless vibrant, colours. His stencils are a mix of urban scenes with a poetic, hippyish make peace not war-message. His artistic expression started off more political, inspired by DOLK and Banksy, but has developed into a more subtle expression. This interest for decay has helped develop his style, motives and composition and he enjoys creating either unity or conflict between materials and motives a wrinkled old lady on a shiny plate of aluminum. He looks for inspirations in city landscapes and old soon to be demolished buildings. Martin has a continuous urge to search for beauty in what is commonly dismissed as ugly, out of style or simply left behind. In 2004 he started his own artistic production. The physical architecture of the city was a constant inspiration, the elaboration and destruction of each generation contributing to the urban infrastructure. He had been interested in Graffiti for years, following the development within street art closely. Growing up in Oslo Norway, Martin was an active part of the emerging graffiti scene of the early 90’s which at the time maintained zero tolerance. While studying Art and Graphic design at Westerdals School of Communication, Oslo, he discovered stencils and the urban art scene. 1984) is a Norwegian born and based stencil artist. Comes with original Graffiti Prints Certificate of Authenticity. Provenance: Stamped by Martin Whatson and Graffiti Prints. Paper embossed around the crack for a 3D effect with the graffiti in the background. Medium: Giclee with 7 Colour Screen Print On 300 Gsm Somerset satin Paper.
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