Art Show/ ‘Visual Disobedience’ An Immersive Group Exhibition of Colour, Form & Geometry | KYNKYNY, Bangalore

Dates: 19 September – 10 October 2026 

Venue: KYNKYNY, Bangalore 

Address: 104 Embassy Square, 148 Infantry Road, Bangalore 560001 

Timings: Monday – Saturday | 11:00 AM – 6:00 PM (Closed on Sundays)
Free Entry

Description –

The artists inherit aspects of this legacy while subjecting them to distinctly contemporary processes of making. Paper, which constitutes the overwhelming majority of the works, is treated not simply as a support or surface, but as an active and transformative material. Through cutting, folding, layering, constructing and manipulating it, the artists push paper beyond its conventional two-dimensional limitations. Flat sheets acquire volume; lines advance or recede; planes shift through perspective; and geometry, repetition and vibrant colour combine to create optical illusions and unexpected visual effects.

The large iron sculpture extends this exploration into another material, creating a dialogue between mass and void, form and line, solidity and space. Across the exhibition, familiar materials are transformed into complex visual experiences, continually challenging our perception of what is flat and what is dimensional. Together, the works invite us to look again, disrupting the expected relationships between line, form, colour, depth and space.

For S. Ravi Shankar paper became a means of constructing architectural and increasingly sculptural picture planes. His compositions are characterised by symmetry, repetition and measured intervals, with laser-cutting extending a practice rooted in drawing and printmaking. The precision of the cut is counterbalanced by the fall of light across the surface, producing shadows that continually alter the viewer’s perception of depth. Working largely within a monochromatic register, Shankar’s reliefs occupy an intriguing space between image and object: their formal order invites close scrutiny, while their quiet materiality establishes a contemplative register.

Yuvan Bothysathuvar approaches abstraction through accumulation. His intensely coloured works are constructed from ordinary materials – newsprint, plywood and assorted papers – which are transformed through a laborious process of rolling, layering and assembling. What initially registers as an expansive abstract field gradually reveals itself as a complex aggregation of discrete linear elements. The works oscillate between flatness and volume, image and object, surface and depth. Colour becomes both structural and perceptual, producing subtle shifts in tone and density that animate the surface and activate the viewer’s encounter with it.

In the work of Ganesh Selvaraj, paper-cut forms become instruments for mapping an interior terrain. Repeated organic and geometric elements intersect and proliferate across the surface, creating compositions that appear simultaneously ordered and in flux. His intricate paper constructions foreground the relationship between repetition and transformation: a single form, reiterated across the picture plane, becomes part of a larger visual system. Light and shadow further complicate these surfaces, revealing a material language in which the physical act of cutting becomes inseparable from the exploration of psychological and spatial states.

Saravanan Parasuraman’s practice turns towards the circle and sphere as recurring formal and conceptual structures. Through the repetition and organisation of geometric components, his works evoke systems that operate across radically different scales – from cellular structures and microscopic forms to planetary bodies and celestial configurations. His experiments with density, colour and material produce configurations that recall the visual logic of mandalas and yantras without functioning as direct representations of either. Instead, these forms become propositions about interconnectedness, recurrence and the passage of time, bringing the microcosmic and macrocosmic into a shared visual field.

ABOUT KYNKYNY : Founded in 2004 by Namu Kini and Vivek Radhakrishnan, KYNKYNY is a contemporary Indian art gallery committed to advancing significant artistic practices and shaping meaningful conversations around art. Over the past two decades, the gallery has built a programme that balances emerging voices with established artists, guided by the belief that enduring careers are created through thoughtful representation, curatorial rigour, and sustained

engagement. Every exhibition is conceived as part of a larger dialogue – one that situates artists within the evolving landscape of contemporary Indian art while connecting their work to wider cultural and global contexts.

Working across galleries in Bengaluru and Mumbai, and through regular participation in India’s leading art fairs, KYNKYNY presents exhibitions that explore the ideas defining our time. Questions of ecology and landscape, identity, memory and cultural inheritance, the urban condition, politics, and abstraction recur throughout the programme, not as fixed themes but as evolving conversations led by artists themselves.

Alongside its exhibition programme, KYNKYNY works closely with private collectors, architects, designers, corporations, and institutions to build collections with depth, relevance, and longevity. Through curatorial guidance and long-term relationships, the gallery helps collections grow with intention while supporting the continued development of the artists it represents.