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Krishna Reddy

Indian Contemporary Artist
Born 1925, Nandanoor, Chittoor, Andhra Pradesh, India
Lives and works in New York, USA

Krishna Reddy is one of the important figures in the field of modern print making. He has developed his own print making technique, the viscosity printing, which has created newer possibilities in print making. His works are often replete with colored grids and intrinsic texture symbolizing the mysterious nature of the universe.

Education

1957

Certificate in Fine Arts, Academia Di Belle Arti Di Brera, Milan, with artist Marino Marini

1954

Certificate in Fine Arts, Academic Grande Chaumiere, Paris, with Ossip Zadkine

1949

Joined the Sculpture Course at the Slade School of Fine Arts, University of London, and studied under the guidance of renowned sculptor Henry Moore

1947

Completed Diploma in Fine Arts at Visva Bharati University, Santiniketan, West Bengal, India, under the tutelage of Nandalal Bose.

VIEW     Selected exhibitions     Text      Videos      Awards      Selected images      View all

LIFE AND WORK

MAPPING THE ARTIST

22

Gallery Show Solo

12

Countries exhibited in

2

Museum Show Solo

3

International / national residencies

52

Years in Practice

21

Auctions

4

Special Projects

4

Biennales

9

Museum/public collections

9

Museum Show Group

29

Publications

4

Awards

15

Gallery Show Group

3

Art Fairs

UNDERSTANDING Krishna Reddy

The innovation of Viscosity printing technique

Krishna Reddy is acclaimed as one of the important modern printmakers of the world. He has also widely explored the field of print making. One of that is the innovation the multi-color intaglio technique known as viscosity printing which has developed newer possibilities in the field of print making.

The new printing process could produce multi-colored prints from a single printing matrix by exploiting the viscosity and tackiness of the inks, subsequently named viscosity printing. Sticky and thick ink does not roll down on top of oily, runny ink, but oily and runny ink does roll down on top of sticky and thick. Inks of different tack and viscosity are employed to edition multi-colored prints of deeply etched and carved metal printing plates. This process reveals the three dimensionality of the printing matrix to a significant degree. In the case of a printing matrix with three distinct areas: textured, original surface, and areas that have been smoothly etched to a lower level, each area will print in a different color.

Krishna Reddy, The Great Clown, 1982, 47.5 x 36"

A Transcendental Abstraction

The images of Krishna Reddy’s prints often speak about a transcendental space, though often named as wave, splash or germination it is something beyond earthly existence. The images seem to have come out from the deep of an intuitive mind. Hence the vivid color and texture of viscosity all tend to help to build the transcendental space. For that matter a work by Reddy named Untitled projects that idea of transcendence, a world beyond the real perceivable world. The texture the intricate grids and patterns all relate to that fact of very deep spiritual and intuitive space, where forms and figures are in a diluted state which embarks as an abstract pictorial oeuvre.

Krishna Reddy, Untitled, 1960, 6.3 x 6.3”

The intricate texture of grids

In Reddy’s images there are two elements which often appear and tend to dominate the oeuvre. The matrix patterning of grids and texture spreading like veins all around the space is a projection of a different perspective about the world and nature. He creates subtle grid-like designs on his plates with intricate textures. The myriad complex colors that he introduces in prints create complex spaces reflective of the enigmatic nature of the world. Germination is one such work where Reddy brilliantly creates a complex space with intricate veins like texture and grids. Interestingly the space that has been created represents a kind of moment, a hollow space symbolic of the creation of the world.

Krishna Reddy, Germination, 1961, viscosity printing, 12 x 17”

The Sense of Timelessness

There is a subtle sense of timelessness in the patterns and the texture that pervades the pictorial space of Reddy’s images.“Our senses bring knowledge that leads to memory and then to ideas and ideals, that begin a life of their own. Thought is the activity of knowledge, of memory, of ideas, conclusions and beliefs forming our consciousness.” Quoting Reddy himself which brings out his thoughts on the process of thought through which an art is conceived. His thought resembles that of the ancient philosophy of Upanishad where idea is eternal, immanent which persists through the limits of time and upholds to a state of timelessness. His works are representative of that sense of timelessness, a neurotic grid reflective of the endlessness and complex space which subsequently indicates to the fact of timelessness.

Krishna Reddy, Flight, 1963, viscosity print, 13 x 18"

A great teacher, and his voice against the 'Art as Commodity'

”The modern artist is miserably dependent on the dealer, the curator, the critic, and the media of publicity. He puts himself on a track to satisfy the passing fashions of the commercial world, where improvisation and interplay are mistaken for creativity. He designs his works of art to satisfy the tastes, desires, and needs of the market. But true creativity cannot exist where there is motive, ambition, and competitiveness.” , Reddy’s take on  the matter of art being constantly surrendering itself against the demand of the dealers, curator and the market, which cannot command an artist. To Reddy the intellectual connection between his work and the audience is more important  than  being the heartthrob of the art  market. Reddy being a great teacher and artist, the importance of praxis in his life has played an important role which can be seen his intense engagement with print making and developing newer possibilities with it where the craze or desire for art market fades away.

Bibliography