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ATUL DODIYA (B. 1959)
Fool's House
signed, titled, dated and inscribed 'ATUL DODIYA "Fool's House" -2008/2009 Oil, acryclic with marble dust, on canvas - 96" x 60" (on the reverse); further signed ATUL, 09' (on the reverse)
oil, acrylic, marble dust and charcoal on canvas
96 x 60 in. (243.8 x 152.4 cm.)
Executed in 2009
Provenance
Vadehra Art Gallery, New Delhi
Acquired from the above by the present owner

Literature
Atul Dodiya: Malevich Matters & Other Shutters, exhibition catalogue, New Delhi, 2010
L. Harris, 'Lie of the Land', Art India, Mumbai, Volume XV, Issue I, Quarter I, 2010, p. 64 (illustrated)
M. Menezes, 'Shop Window Display', Art India, Mumbai, Volume XV, Issue II, Quarter II, 2010, p. 94 (illustrated)
E. Booth-Clibborn, R. Cork and B. Sewell, The History of the Saatchi Gallery, London, 2011, p. 791 (illustrated)
Exhibited
New Delhi, Vadehra Art Gallery, Atul Dodiya: Malevich Matters & Other Shutters, March - April 2010
London, Saatchi Gallery, The Empire Strikes Back: Indian Art Today, January - May 2010
Lille, Tri Postal, La Route De La Soie - The Silk Road, October 2010 - January 2011

Condition report

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Lot Essay

Atul Dodiya first chose the common shop shutter as a medium in 1999 - 2000. Alluding to India's commercial capital - Mumbai, also his home town, the works included a careful juxtaposition of images on the shutter and canvas, playing with the notions of open/closed, private/public and what one chooses to reveal or hide. The narrative of these three dimensional works change and depends upon whether the metal shutter is open, closed or partially down.

Almost ten years later Dodiya created a new series entitled Malevich Matters & Other Shutters. "These images of roller shutters are neither austere conceptualist devices, nor abstract depictions of hardware pared down to its mechanical logic. Rather, they are themselves Dodiya paintings: images shaped from images, hand crafted from surprising collocations of pictorial and textual data drawn from diverse sources, surfaces annotated with extracts from the artist's copious private archive of references." (R. Hoskote, Dodiya Standard Time, New Delhi, p. 51)
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