line to line. BECOMING: SAURABH NARANG

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Open: Wed-Fri 11.30am-2pm & 3pm-6.30pm, Sat-Sun 1pm-4.30pm

Merseburgerstrasse 14, 10823, Berlin, Germany
Open: Wed-Fri 11.30am-2pm & 3pm-6.30pm, Sat-Sun 1pm-4.30pm


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line to line. BECOMING: SAURABH NARANG

to Sat 6 Aug 2022

Artist: Saurabh Narang

Merseburgerstrasse 14, 10823 line to line. BECOMING: SAURABH NARANG

Wed-Fri 11.30am-2pm & 3pm-6.30pm, Sat-Sun 1pm-4.30pm


Opening: Friday 27 May, 6pm-8pm

Artworks

Strike a silver, 2018

Mechanical graphite drawing pencil on aged preserved paper
50 x 70 cm

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Signs from four senses for fore shores, 2018

Mechanical graphite drawing pencil on aged preserved paper
50 x 70 cm

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Search for balance, 2018

Mechanical graphite drawing pencil on aged preserved paper
50 x 70 cm

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Similarities, 2020

Mechanical graphite drawing pencil on aged preserved paper
21 x 30 cm

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Freewaysrestrictedways/restricted waysfreeways, 2020

Mechanical graphite drawing pencil on aged preserved paper
21 x 30 cm

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Cosmic Karma II, 2007, 2022

Digital archival print on hahnemuhle paper
64 x 43 cm
Edition 1/8

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Cosmic Karma I, 2006, 2022

Digital archival print on hahnemuhle paper
64 x 43 cm
Edition 1/8

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The red parade of enlightened souls, 2016

Archival pigment ink and acrylic paint on aged preserved paper
55 x 58 cm

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Floored florescence less luminescence, 2015, 2022

Digital archival print on hahnemuhle paper
61 x 43 cm
Edition 1/9

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Restrain-sustainable fragility, 2016

Archival pigment ink on japanese handmade paper
50 x 50 cm

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In between beams, 2014

Pen and archival pigment ink on digital archival print on paper
46 x 36 cm

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Spray spaces spare spaces spare a space, 2015

Aerosol leather polish and pen and archival pigment ink on paper
36 x 48 cm

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Sections of reflections, 2015, 2022

Digital archival print on hahnemuhle paper
35 x 45 cm
Edition 4/8

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E m i s s i o n d i m e n s i o n, 2015, 2022

Digital archival print on hahnemuhle paper
45 x 32 cm
Edition 4/8

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Intersections at crossways, 2014

Pen and archival pigment ink on paper
30 x 21 cm

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Fore floors, 2010

Pen and archival pigment ink on paper
24 x 30 cm

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A dream wish, 2020

Pen and archival pigment ink on japanese handmade paper
17 x 24 cm

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Floor plans for fore clans, 2012, 2022

Digital archival print on hahnemuhle paper
24 x 30 cm
Edition 4/8

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Quad space reaches, 2020

Pen and archival pigment ink on digital print on paper
17 x 24 cm

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Flash sound, 2021

Oil pastel and hard graphite pencil on aged preserved paper
27 x 35 cm

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Arrival survival, 2013, 2022

Digital archival print on hahnemuhle paper
24 x 30 cm
Edition 4/8

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The matters of thin crust, 2013

Pen and archival pigment ink on paper
21 x 30 cm

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Certain reflective sails, 2020

Archival pigment ink and graphite on paper
21 x 30 cm

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Flash sight, 2021

Oil pastel and hard graphite pencil on aged preserved paper
27 x 35 cm

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A material state of some internal matter, 2012

Pen and archival pigment ink on paper
21 x 30 cm

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Inner facade, 2020

Pen and archival pigment ink on digital print on paper
17 x 24 cm

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Overcast infinity, 2017

Mechanical graphite drawing pencil, acrylic paint on paper
21 x 30 cm

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All rooftops have slides for the stars, 2013, 2022

Digital archival print on hahnemuhle paper
24 x 30 cm
Edition 4/8

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Workspaces for an outreach, 2020

Pen and archival pigment ink on digital print on paper
17 x 24 cm

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Initial waveform transmission, 2018

Mechanical graphite drawing pencil on paper
30 x 21 cm

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Flash seconds, 2021

Mechanical graphite drawing pencil on aged preserved paper
27 x 35 cm

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Subconscious strings for conscious sails, 2018

Pen and ink and mechanical graphite drawing pencil on aged preserved paper
50 x 70 cm

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Close channel within open channels, 2022

Archival pigment ink on paper
48 x 36 cm

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The sea face, 2022

Pen and archival pigment ink on paper
48 x 36 cm

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Open channel within closed channels, 2022

Archival pigment ink on paper
48 x 36 cm

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Slip a trip, 2014, 2022

Digital archival print on hahnemuhle paper
45 x 35 cm
Edition 4/ 8

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Aviation i, 2013, 2022

Digital archival print on hahnemuhle paper
48 x 61 cm
Edition 5/8

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Aviation 1, 51 x63 cm, 2012 Archival pigment ink auf Papier ©Saurabh Narang

Kunstkosmos between Physics und Mysticism
by Sara Tröster Klemm

Meticulously painted, with a fine and flowing point, the art of Saurabh Narang opens a completely new universe. It is a world of precisionist lines and curves, which let us think of scientific and architectural drawings. Every inch of his works is painted with utmost care. It seems, as if nothing is left to chance in his paintings, drawings and digital prints, and nevertheless, they are full of life, colour and surprise. The viewer may discover many hidden details. Every line, and there are plenty, perfect and delicate, is worth a look.

Saurabh’s art lives from expressionist geometry. Based in Delhi, he observes nature, light and light beams with scientific seriousness and curiosity: “Art and physics are two different sides of the same coin”, Saurabh Narang said in early 2007, because “when a beam of light falls on the ground, it makes geometric patterns”. Combining these optical phenomena of light and shadow with inspirations from constructivism and modernism, the self taught artist creates paintings of a unique, unmistakable hand.

The essentials of his art he gained during his time at a boarding school situated near the foothills of the Himalayas in Dehradun, the students were trained under a learning environment that was and is prevalent in Rabindranath Tagore’s Shantiniketan, Visva-Bharati University West Bengal. An early introduction to screen printing technique enabled him to clearly understand the concept of image resolution, the available infrastructure around him let him extend limits and formative learning constructively assisted imagination to compose distant imagery. And indeed, his artworks speak for them- selves. No question, Saurabh Narang is an extremely gifted and capable painter with an enormous technical know-how. He mixes abstraction and figurative painting, Eastern and Western art and image traditions. Admiring the way Edward Hopper deals with natural light, Saurabh feels inspired by Western artists such as Monet, Renoir, Picasso, Warhol and in particular William Blake with his mysticism, and printmaking. Already in young years did Narang begin to experiment with light, his approach became self-explorative and research oriented. Additionally, Saurabh Narang pays tribute and is fundamentally nurtured by the Bengal school of art.

The sometimes surprisingly bright colours in his paintings radiate pulsating life – Narang chooses them with a high degree of reflection. He bears their symbolic and emotional meaning in mind. In the Indian colour system, blue stands for enlightenment and etherealness, while red and yellow symbolize cosmic karma, as visible in the abstract painting Cosmic Karma II from 2006, which Narang painted in acrylic on canvas. However, black unites all of his work, standing for the theory and practice of a man. In Cosmic Karma II, large parts of the painting are dominated by a warm shade of gold. In the confrontation of very clear, sharp and colorful sections with dark, earthly-brown parts, Narang creates a strong contrast between celestial and earthly colours, which is also reflected in the various structures. While the golden, red and black parts with their perfect lines are painted in a very smooth and consistent way and seem to be inspired by suprematist and constructivist paintings, the parts in the bottom are changing in a lively and dynamic manner. During the early 90s, Narang became motivated by the Indian religious philosophy in a constructive way. He didn‘t only conceptualize a stage production called Cosmic Karma, but these spiritual ideas became a part of him and accompany him since back then.

Though Narang is a manifold interested person, the rendering Aviation I (2013) shows a completely different approach. Painted in archival pigment ink on paper, this black-and-white-work captures the viewer‘s attention with its very delicate and complex style. It is dominated by myriads of angular planes – from big to minuscule, geometric black and white fields. Flight, aviation and (golden) wings mark important subjects to the artist in general.

Widely acclaimed, his works have been exhibited in solo and group exhibitions throughout India, the UAE, Turkey, Greece, England and Norway. Narang combines and merges the Indian with the Western culture and the achievements of modern art, with emphasis on expressionism and constructivism. In his art, physics and spirituality don‘t become dichotomies, but are rather understood as complements. Oscillating between figurative painting and abstract art, his works deal with mysticism, resurgence and deep insights. He envisions remarkably “a cosmically abundant world that pays homage to the ancestral light, self and aesthetics”. Through a years-long intensive process, Narang developed a distinctive visual language, which fascinates and delights with its spiritual profundity and technical brilliance.

© Saurabh Narang / Galerie UTMT. Courtesy : Galerie UNDER THE MANGO TREE I Berlin


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