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Lot Essay
[...] Even if my early works were heavily autobiographical, the overcrowded and media saturated street festooned with billboards, provided me with my themes as well as my artistic language. In retrospect, I see that my formative years as an art-student paralleled the liberization of India post-1991, when the opening up of the skies to international media and the explosion of television from two channels to over 90 within the space of a year greatly impacted my work.
Jitish Kallat (in dialogue with Huang Du, Reality Filters in Jitish Kallat 365 Lives, Arario Gallery, Beijing, 2007, p. 24)
The paintings are all foreground, with a certain matte-ness that is both a surface effect and an aspect of the mediated condition of the visual material (newspaper photographs, images on the internet) that he has been prone to use. [...] the riddling aspect is underscored not only by the cryptic and often ironic titles (accompanied by the artist's name and the copyright symbol) stenciled on the picture surface but also by the globalized demotic of the 'highways of communication' - the signage glut of the computer screen - that festoons, punctuates, interrupts the interface of the 'real' and the 'virtual' that is 'Kallat's window on the world'. (Deepak Ananth, Scare Quotes: Jitish Kallat's 'AgitPop' Nature Morte, New Delhi, 2005, p. 4).
Jitish Kallat (in dialogue with Huang Du, Reality Filters in Jitish Kallat 365 Lives, Arario Gallery, Beijing, 2007, p. 24)
The paintings are all foreground, with a certain matte-ness that is both a surface effect and an aspect of the mediated condition of the visual material (newspaper photographs, images on the internet) that he has been prone to use. [...] the riddling aspect is underscored not only by the cryptic and often ironic titles (accompanied by the artist's name and the copyright symbol) stenciled on the picture surface but also by the globalized demotic of the 'highways of communication' - the signage glut of the computer screen - that festoons, punctuates, interrupts the interface of the 'real' and the 'virtual' that is 'Kallat's window on the world'. (Deepak Ananth, Scare Quotes: Jitish Kallat's 'AgitPop' Nature Morte, New Delhi, 2005, p. 4).