Three exhibitions, held at the Venkatappa Art Gallery, Bengaluru, from 18 to 21 July 2026, opened on a celebratory note and with artistic camaraderie. The exhibitions were inaugurated by the distinguished art historian K. V. Subramanyam, in the gracious presence of eminent artists Subramanian Gopalsamy, A. M. Prakash, and Babu Jattakar, whose collective presence lent both warmth and significance to the occasion. The spotlight was shared equally between the two enthralling solo exhibitions of Shankar Kadakuntala and Vijay Dhongadi, and a group show of artists from Hubballi.
With the bold brushstrokes and deeply expressive portraits by Shankar Kadakuntala, the gallery’s four walls came alive with vivacious faces, each carrying a distinct identity, each rooted in its own emotional and social landscape. Spread across canvases of varying scales, the portraits invited the viewer into a world where colour, character and emotion intertwined.
Group show
As I stepped into the hall, my thoughts drifted to a blue self-portrait Shankar had painted years ago, one that instantly reminded me of Anupam Kher’s striking blue-painted appearance in a film. That memory stayed with me as I wandered through the exhibition, where one face after another emerged through confident, energetic brushstrokes. Rich reds, electric blues, brilliant yellows and lush greens danced across the canvases, giving each portrait a pulsating life. The Joker series, in particular, exploded with vibrant colours and sweeping strokes that amplified the drama of the painted faces. The eyes- large, bold and intensely outlined- resembled those of a Kathakali performer, carrying an arresting theatrical power. They looked beyond the viewer, speaking through silence, mischief, melancholy and defiance all at once. Young boys and children appeared transformed into Joker, Krishna, Shiva and Hanuman. Their innocent faces became stages upon which mythology, folklore and contemporary culture performed together. The painted masks and symbolic identities did not conceal the individual; rather, they revealed the many roles one inhabits in society. Each portrait oscillated between playfulness and introspection, inviting the viewer to question where performance ends and identity begins.
Yet, all these colourful portrayals gradually dissolved as my gaze settled on the front wall, where two powerful self-representations commanded complete attention. One depicted a ‘madaari’ controlling three monkeys, but each monkey bore Shankar’s own face. The work became a poignant metaphor for the artist’s internal struggle- the frustration of being tamed, instructed and constantly told what to follow, what to see and what to ignore. It reflected the invisible strings with which society often manipulates individual choices, reducing personal freedom to obedience. The second painting served as the exhibition’s emotional and conceptual climax. It brought together the presence of Picasso, symbolising the artist’s unwavering desire to pursue art with honesty and conviction. And then, Shankar’s self-portrait, accompanied by a barber’s chair and scissors- the unmistakable symbols of his ancestral profession. For years, this inheritance remained hidden behind the artist’s identity, burdened by the social stigma attached to hereditary occupations. Through this painting, however, Shankar breaks that silence. The canvas feels like an eruption of molten lava- a powerful release from years of concealment and inherited prejudice. It is a fearless declaration that there is no contradiction between being an artist and a barber. Both identities coexist with equal dignity and authenticity.
The pandemic further reaffirmed this truth. When uncertainty engulfed the world, it was his family’s traditional profession that sustained him. Rather than distancing himself from it, Shankar embraces it with pride. In doing so, he frees himself from the weight of societal expectations and emerges as an artist who paints not merely portraits, but the courage to accept one’s roots without shame. His exhibition ultimately becomes a celebration of identity, fluid yet grounded, theatrical yet deeply personal, and above all, profoundly honest. Shankar’s mind works with the quiet conviction that the divine can manifest in any form. It is this belief that guides his artistic vision and his humane gestures. He sees no contradiction in placing a peacock feather- a symbol traditionally associated with Krishna- on a wandering beggar seeking alms while walking along with cows, animals revered as sacred by many. In Shankar’s eyes, divinity is not confined to temples or icons; it resides equally in the forgotten, the humble and the ordinary.
work of Shankar Kadakuntala
In the next solo show, Vijay Dhongadi‘s figurative abstractions unfold like visual poetry, where flowing, lyrical lines weave effortlessly across the canvas, dissolving the boundaries between figure and imagination. Built through energetic lines and patches of colour, his compositions possess an organic rhythm that wanders through the layered surfaces. At first glance, the works radiate playful exuberance, but as one steps closer, an intricate world gradually reveals itself. Tiny fillers emerge from within the colourful expanses, miniature puppets, indigenous motifs, delicate flowers, scattered petals and whimsical forms-each quietly enriching the visual storyline. His linear vocabulary, with its graceful economy and expressive fluidity, reflects a few confident strokes that suggest movement, emotion, and spirit. The facial features in these paintings share stylistic characteristics with both Chinese and Japanese art, such as dramatic down-turned eyes and ornamental environs, but Vijay renders them in a highly stylised, modern, abstract manner. He transforms these echoes into a language distinctly his own, blending folk sensibilities with contemporary abstraction. The fluorescent palette further heightens this experience, infusing the paintings with a luminous vitality. Brilliant pinks, greens, yellows, and blues animate the surfaces, lending the configurations an infectious energy and celebrating a world where fantasy and cultural symbolism intermingle in a joyous dance of forms.
The event blossomed further into a vibrant confluence of artistic voices through an accompanying group exhibition featuring 18 established artists from Hubballi. Together, the diverse presentations created a rich chromatic dialogue, celebrating individuality, experimentation and the collective spirit of the region’s thriving art community.
Group show
Each artist brought a distinct narrative, revealing individual sensibilities through diverse media and themes. There were portraits, abstract landscapes, figurative compositions, thermofoam and coir foot mat creations, and even religious architecture. Terracotta forms echoed the earth’s timeless memory, mixed media works layered textures and ideas into evocative compositions, acrylics burst forth with bold colour and energy, while delicate watercolours whispered fleeting moods and landscapes. An installation with origami birds, thoughtfully conceived, was a step beyond passive observation and engagement with space, material and meaning. Together, these speckled expressions transformed the gallery into a rich tapestry of contemporary interchange, where every work contributed its own pace to the opus of creativity.
The cover image and the artworks featured in the article were provided by Dr Alka Chadha Harpalini.
Alka is an artist and art writer with a diverse career spanning teaching, e-learning projects with the Ministry of Human Resource Development (MHRD), and editorial work. An alum of the Government College of Art, Chandigarh (BFA) and Banaras Hindu University, Varanasi (MFA, PhD), she has been recognised with numerous prestigious awards and honours.
