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Aditya Pande

Indian Contemporary Artist
Born 1976, Lucknow, India
Lives and works in New Delhi

Aditya Pande's artwork comprise of intricate lines and concentric circles that emanate controlled spontaneity and intensity. He uses vector - based drawings as a starting point for his work, and further enhances it by overlaying traditional media such as ink, digital prints, and photographs.




Graphic Design, National Institute of Design, Ahmedabad, Gujarat, India

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Aditya Pande's artwork is embodied with undulating lines and concentric circles

Pande's oeuvre is manifested with controlled spontaneity, elegantly grotesque, sophisticatedly ordered anarchy and digital primitivism. Masses of lines and concentric circles are pivotal to the large format works. The viewer's focus constantly shifts from one density to another, sometimes with movements which venture into the inward realm and sometimes with movements that venture into the outward realm.

The compositions are balanced by combining the skills of printmaking and drawing with the surfaces of painting as well as photography. The graphic designs are physically altered after printing to create a surface that blurs the rigid line between two dimensions and three. He creates an impression of depth within limited elements.

Aditya Pande, Portrait for a Landscape, 2011, mixed media on paper, 91' x 66' cm

Vector - based drawings as a starting point of his work

Pande’s art involves the manipulation of computer aided graphic design with traditional media. His vector - based drawings are furthur  enhanced by overlaying prints with various materials such as ink, digital photographs, acrylic paint, tinsel along with beady, pop-artish eyes. Dense layering of the picture plane marks his process, which often extends right onto the acrylic covering the artwork.

Most of his work is centred around the idea of drawing as a starting point and not merely as a base. With vector based software, he’s able to create a lot of vector data - resulting in an array of undulating lines and frantic circles, that become the core form of his artwork.

He attempts to blur the distinctions between different mediums that ultimately makes the work unique and interesting.

Aditya Pande, Earth Calling Earth, 2011, mixed media on paper, 45 x 61”

Usage of bold colors and elements of varying dimensions within flat painting surface

Bold colors are wobbly lines are apparent in Pande's work. Color palette ranges from the positively cheerful with several teals and soft neon greens and oranges to several hues.

The artist states that he's always intrigues by the tension of flatness in his work. Since the image is perceived in flatness, he creates some tension in that flatness in the attempt to project it as flat but it isn't. He sometimes applies the paint in a viscous state- which gives him the space to work within the ambiguity that he likes to surround himself with.

Aditya Pande, Vore 2: the circus of faith, 2008, giclee and enamel paint on paper, 44" x 66"

Aditya Pande's

Aditya Pande's fondness for word puzzles and the idea of the encrypted is well evident in the series "Half - Life". Decoding individual works is not possible in any linear sense; instead a sense of common grammar begins to emerge within the context of the whole series. He has made an attempt to work with a simpler premise for how to create a work so as the images generated joining circles and semi-circles can be interpreted as a function or a command. Like "do", d and o, he uses that as a command and a function for himself, and build upon it in order to obscure the state of it being both image and text.

This abstract phase is part of Aditya Pande's "Half Life" mixed-media works, with conjoin­ed semi-circles and circles that resemble lunar phases.

In "Half-Life Form I" and "II, Pande couples long computer - aided design squiggles with Harold Edgerton's photographs of a nuclear explosion while in "half - life form VII", the full circle -which seems like a photograph of a reptile skin, is actually a scan of the artist's nipple. He’s scanned the nipple at different frequencies and speeds resulting in different interpretations.

Aditya Pande, Half-life Form, 2012, mixed media on paper