Kadam's Art

all about art..




Shardul Kadam and Radhika Kadam display diverse approaches to their art practices. Whereas Shardul’s figurative works have a close affinity with the visible world, Radhika’s introspective abstractions are reflections of her personality.

Blessed with a sound literary background, Shardul Kadam’s world is inhabited by real as well as imagined characters. Shardul was trained at Sir. J.J. School of Art where he specialized in Portraiture. His sound academic background comes through in the deft and assured draughtsmanship. An impulsive traveler, the artist’s wanderlust has taken him to different destinations across the country and overseas. Shardul responds readily to a new location, person or custom, soaking in sights and sounds with his keen sense of observation and attention to minute detail. The series on Thai life done at a recent residency in Chiang Mai or the Ayodhya series imbued with a sacredness are apt examples. On a subconscious level, the artist reacts to the world around him, commenting on multiple issues such as the disintegrating political system, social ills, godmen, blind faith, hypocrisy and public apathy. The human beings in his paintings have heads with long, elaborately detailed manes, dreamy eyes and aquiline noses. Whether fictional or from real life, the nayikas and soldiers vie for the viewer’s attention.

Radhika Kadam attributes her artistic practice to her family background. Born and brought up in a landowner family whose primary occupation was agriculture, the artist was fortunate to have a close proximity to nature, observing its changing moods intently. The variegated forms of trees, the gnarled and knotted tree trunks and hues of the foliage continue to mesmerize Radhika. Her painterly world is made up organic elements-, indeterminate masses of clouds, clumps of trees and snaking shoots. She eliminates the obvious, and seeks the essence, compelling the viewer to scratch the surface and look within to obtain the total experience. Her works are like walking into a maze and encountering the unexpected. Governed by a resonating chromatic structure, the paintings despite an air of ambiguity, have a feminine core and possess a certain tenderness.

Dr. Manisha Patil                                                                                                                   November 2017                                                                                                                                                                             

Artist and Art historian

Professor, Art History

Sir J.J. School of Art, Mumbai