ADE E SH B A BU

Date of Birth : 31 May 1990

Born : Kerala
Based on Delhi

Educa�onal Qualifica�on

M.F.A (Pain�ng) College of Art, Delhi University of Delhi 2018

B.F.A (Pain�ng) College of Art, Trivandrum University of Kerala 2016
B-Tech (EEE) Mahatma Gandhi College CUSAT 2012

Par�cipa�on and Achievements

2018 ‘UGC NET’ exam qualified.

2018 FICA Ligh�ng Workshop by Royoya Fudetani(Japan)
2018 ‘Kerala state award for drawing’ Prafulla Dahanukar founda�on Mumbai
2017 Dec ‘celebra�ng the transit’ group exhibi�on Punjab Lalit kala gallery
2017 June ‘caboodle’ an exhibi�on by art 4 all gallery New Delhi
2017 First prize best student M.F.A(previous year)college of art New Delhi
2016 Kerala State Lalit Kala Academy 45th State Exhibi�on
2015 Kerala State Lalit Kala Academy Group Exhibi�on “KOTTAYAM”
2015 “SEE” Art Exhibi�on College of Art Trivandrum

Permanent Address
Adeesh Babu
Communica�on Address B.G.Nivas
Adeesh Babu, Student of final Year, MFA Pain�ng Valiyakada, mukkaluva�om
20-22, Tilak Marg, New Delhi, 110001 Chirayinkeezhu po 695304
Email id: (adeeshmidas@gmail.com) Trivandrum
Mobile: (+91- 9747884717) KERALA
 CONCEPT NOTE

Coming from a B-Tech background, I have always been influenced by maths and here in my work
also. Studying the contemporary art situa�on I felt that there is a lack of intellectuality and sharp
knowledge study in art work, which can lead to a new way of study and develop a different visual
language.

Here I am, trying to study the Renaissance and the miniature pain�ng of India to develop a way of
pain�ng by rediscovering the secret of maths and aesthe�cs. Experimen�ng with the mathema�cal
theories and possibility of applica�o
on derived from the miniature and Renaissance. During these
period both at Europe and the Indian sub con�nent we can find the influence of maths, science and
philosophy( eg=Euclidean theory of ra�o and propor�on)because the ar�st of this period mostly
produced large and small pictorial representation of image for documenta�on which dealt with the
space thereby was a challenge to handle it mathema�cally and philosophically. So, here I also put
such a study in my research.

The problem of represen�ngng space in pain�ng is most relevant from the pain�ngs of Da Vinci and
other renaissance ar�sts and which led to the development of cubism and later its influence can also
be studied in the works by Mondrian which deals with the problem of handling space.

My study also began with the pain�ngs of Da Vinci, a great scien�st and ar�st who gave importance
to geometry in his art and also considering the theory of ra�o and propor�on of Euclid. Here in India
may be we can say that it is opposite to European theory but the mathema�cal calcula�on and
division of space is strong in pain�ngs, star�ng with the Nadwara and Pichwai pain�ngs of Rajasthan
miniature to derive the mathema�cal secrets of visual language.

The most familiar pain�ng in the world, Mona Lisa, has a significance dealing with golden ra�o. It is
a necessary reference for every portrait study. Indian miniature pain�ngs also deals with issues of
handling space. My work which experiments a collabora�ve study of European and Indian Miniature
pain�ng to derive a new visual language.

Balanced and Unbalanced Fire Tree, Ink on paper 21x15 cm each, 2018
 EXPLANATORY NOTE
From my studies of History, both Indian and West, I can analyse contemporary situa�on of society.
Some of the master works from history reverberates the overall growth of the society which led me
to experiment a new language in contemporary art prac�ce. Here in this sculpture I am strongly
a�racted to the myths of India, but I am trying to connect it in the context of modern in which the
seven Mother Goddesses whom were constructed for helping Lord Shiva to fight with Anthakasura.
Through this sculpture I am ques�oning the existence of Mother Goddess in this contemporary
period. which deals with the ques�oning of judgemental process of each period and the problem of
understanding equality, power invasion, gender and scientific developments.

My all works talk about the hidden poli�cal agenda of the society and the meaningless wars.

Saptamatrikas, Terracota, Iron, Stone, Pump and Red water, 18x15x22 cm, 2018

Detail
Fer�lity, Terracota, Iron, Stone and Water,25x20x50 cm,2018
 WORKING PROJECT

Yakshi Inner diagram

Influenced from Outer diagram

 ABOUT MY WORK
Being a human and as an artist I didn’t try to make a statement yes or no. I only try to make things more
problematic and put it in front of my spectators. I hardly believe that the decision makers are spectator of
particular period. The freedom of expression, value of life, value of work of art etc are questioned and
make new different answers in different periods. My work is totally experiment with medium, how the
perspective, colour, form, line and shade play with human emotion and illusion. And my work is large scale
size because I think in large scale size the vibrant expression of oil and ink medium has much more
possibility. The forms are recurring in my paintings are some images only from our surroundings nature in
my village mystic landscape etc and I try the most huge possibility of tin and tone in paintings because
there is a huge craft possibility have. Like music sports there in art also craft is important

I hardly believe that art is creative production based on sharp knowledge. Look, see and perceive make
human more creative. It takes time dedication and truthful approach. In my paintings I enjoy the process
what I sad above. When I go through masters I feel there subjects are too simple but by using that simple
subjects they represent the big issues at that period, like political, painterly and aesthetically. My works I
try to develop the hard experimental visual language for my subjects’ mostly use the subjects war etc
because my home is near sea side and I try to question the existence of human. When I look there the
question what next is there.

For the past years (2016) in my works trees surrounded by multiples clouds are the recurrent images. In
the beginning I started them inspired by the mountain series by Paul Cezanne. In the nature course of its
development trees and clouds in my paintings took a conspicuously different style of my own
In the painting visual aspect is, I think, the most important one. So the biggest task I confront with the
medium is how to put into visual forms certain ideas which so personal and intimate to me. In that sense
the image of the tree and clouds in my paintings have some indirect association with eroticism. Despite, I
like to refrain from pronouncing the same content in a kind of narrative, as I am more interested in
painterly character. Because, the images constructed in a medium, I believe, should be self explainable
without the artist’s own wards. I am sure that I am reaching the point where I want to shape my works the
way I think of it.
New Works 2018

A journey from the Abaddon, Ink on paper 30*40 inches,2018

Details
Details
The concept of Indian Babel tower 1 8*5 feet ink on paper 2018

Details
Details
The concept of Indian Babel tower 2 50*60 cm ink on paper 2018

Detail
 FICA Lighting Workshop Work 2018

Silence, Light, body and paper 2018

 New works 2017

Above and below, ink on paper 300gsm, 24"*30"inch, 2017

Detail
Concept of super human, edited photograph, 5*7, 2017
 Political scapegoat, ink on paper, 4*10 feet, 2017

Detail
The painters tree 5, ink on paper,4*6 feet ,2017

Detail
Pending decision, ink on paper, 30"*40"inch, 2017

Detail
Wounded skin, ink on paper, 30"*40"inch, 2017

Detail
A bed of thorn, ink on paper, 1*1 feet each, 2017
The four animals in the fiery furnace, ink on paper, 13’*23''inch 2017
The splash, ink on paper, 11*15cm, 2017

The splash 2, ink on paper, 11*13cm, 2017

 The death of an artist friend, ink on paper, 1*1
Thefffeefeet,2017
death of an young artist ink on paper 1*1 feet 2017

Administrator elapse, ink on paper, 11*15cm, 2017

The painters tree 4 oil on canvas polyoptych 6*16 feet 2017

The painter’s tree 3 182*152cm oil on canvas 2017

 The idol as a cow enamel paint on canvas 5*3 feet diptych 2016

Gap between village and city acrylic on canvas 5*7 feet 2016
 The shadow oil on canvas 40*60cm 2016

The veer oil on canvas 3*2.5feet 2016

Mandi house oil on canvas 3*2.5feet 2016

Thank you