सुBOध - Drawing Show 2022

previous pg details ....

Sunil Das

GK-SD-PP082
GK-SD-PP083
GK-SD-PP084

Penographic
Single Edition
21 x 14 inches (each)
2013

INR 1,50,000/-
USD 2119 (each)
(Unframed & Delivered)

detailed view

Sakti Burman

GK-SKB-WP001 Pen on Paper
3 x 6 inches | 1992
Mixed Media on Paper
4.5 x 9 inches | 2012 GK-SKB-PP002

INR 1,50,380/-
USD 2118
(framed & Door Delivered )

Manoj Dutta

GK-MD-IP001
Ink on Paper
11 x 8 inches

GK-BC-IP005 GK-BC-IP003 GK-BC-IP004

Bijan Chowdhury INR 44800/- Anita Roy Chowdhury
USD 631
GK-BC-IP003 GK-ARC-IP005
GK-BC-IP004 ( Set of 5 works )
GK-BC-IP005 FRAMED AND READY TO HANG Untitled
Ink on Paper
Ink on Paper 11.75 x16.5 inches | 2006
11 x 15 inches | 2000
(each)

GK-ASG-MMP-006 GK-ASG-FP-007 Amitabh Sengupta

GK-ASG-MMP-006
Nigeria Period
Frottage & Acrylic on Paper
Edition 1/1
30.25 x 22.25 inches | 1987

GK-ASG-FP-007
Nigeria Period
Edition 1/1
Frottage on Paper
30.5 x 22.5 inches | 1987

INR 69,999/-
USD 999 (each)
( Unframed & Door Delivered )

GK-ASG-MMP-008 Amitabh Sengupta
GK-ASG-MMP-009
GK-ASG-MMP-008
Masks Nigeria Period
Frottage on Paper
Edition 1/1
30 x 21.75 inches

GK-ASG-MMP-009
Masks Nigeria Period
Frottage on Paper
Edition 1/1
29.4 x 21.25 inches | 1986

GK-ASG-MMP-010
The Face Nigeria Period
Frottage on Paper
Edition 1/1
30.5 x 22.5 inches | 1986

INR 69,999/-
USD 999 (each)
( Unframed & Door Delivered )

GK-ASG-MMP-010

GK-ASG-MMP-001 GK-ASG-MMP-002 GK-ASG-MMP-011

Amitabh Sengupta GK-ASG-MMP-001 & 002 Mask Nigeria Period
Frottage on Paper
Mask Nigeria Period INR 69,999/- Edition 1/1
Frottage on Paper USD 999 (each)
Edition 1/1 ( Unframed & Door Delivered ) 30 x 22 inches | 1986
30.35 x 22.25 inches | 1986
(each)

GK-DHC-IP002 GK-DHC-IP003 INR 44000/- | USD 620 Chandra Bhattacharya
FRAMED | ALL IN
Dhiraj Choudhary DELIVERED PRICE Untitled
Mixed Media on Canvas
Urbashi Series GK-CB-MMC002
Charcoal on Board 12 x 10 inches | 2020
12 x 12 inches | 2010 (each)
(each)
GK-CB-MMC003
INR 21500/- USD 399 (each)
( Framed & Door Delivered )



previous pg. details ... Jogen Chowdhury Tapas Ghoshal Sunil Das

Dhiraj Choudhary GK-JC-PIP056 GK-TG-AOC082 GK-SD-CP066

GK-DHC-IP003 Untitled Watercolour Gouache Powder Horse
Pen & Ink on Paper Pigment on Arches Paper Charcoal on Paper
Urbashi Series 7.7 x 5.7 inches | 2015 9.5 x 12.5 inches | 2014 11 x 9 inches | 2002
Acrylic on Board
12 x 12 inches INR 43,900/- | USD 699 INR 24,999/- | USD 359 INR 85,000/- | USD 1289
( Framed & Door Delivered ) ( Unframed & Door Delivered ) ( Unframed & Door Delivered )
INR 29,999/- | USD 429
( Framed & Door Delivered )

Dhiraj Choudhary Prokash Karmakar K. Laxma Goud

GK-DHC-IP002 GK-PK-MMP002 GK-KLG-EP016

Urbashi Series Beach Series Untitled
Charcoal on Board Mixed Media on Paper Etching on Paper
12 x 12 inches | 2010 7.5 x 8 inches ; 2004 6 x 6.5 inches | 2017
(each)
INR 21500/- | USD 399 INR 36,900/- | USD 610
( Framed & Door Delivered ) INR 28000/- | USD 399 ( Framed & Door Delivered )
( Framed & Door Delivered )



GK-PK-MP082 GK-PK-MP083 GK-PK-MP084 GK-PK-MP085

Prokash Karmakar

Marker on Paper
20 x 23 inches | 1998
(each)

INR 73,336/-
USD 1033 (each)

ALL PRICES DOOR
DELIVERED UNFRAMED

GK-PK-IP086 GK-PK-IP087
GK-PK-IP088
Prokash Karmakar

Untitled
Ink on Paper
14.5 x 11 inches (each)
INR : 100000/-
(Unframed Door Delivered)

Prokash Karmakar

GK-PK-IP091

GK-PK-IP092 GK-PK-IP093

Landscape Series
Ink on Paper
14.5 x 11 inches (each)

INR 175000/-
USD 2465/- (framed
Door Delivered)

Anupam Sud

GK-ANS-EP001

Untitled
Etching on Paper

Edition 2 of 20
Artwork Size : 14.5 x 17.7 inches
Paper size : 22.5 x 29.5 inches

2005

INR 1,81,280
USD 2553

( Unframed & Door Delievered )

K. Laxma Goud

GK-KLG-EP023 | GK-KLG-EP024 | GK-KLG-EP025
GK-KLG-EP026 | GK-KLG-EP027 | GK-KLG-EP028

Untitled
Etching on Paper
6 x 6 inches | 2017

INR 45000/- All in
USD 650

Framed and door delivered)

Kapil Anant

GK-KA-MMP-006

Indian Shining
Acrylic & Ink on Paper
40 X 60 inches
INR 125000/- All in Delivered
USD 1800

Kapil Anant

GK-KA-MMP-006

Labor-Of-Love
( Set Of 25 )

Size - 8.3 X 11.8 inche Each
Medium - Acrylic And Ink on paper

INR- 1,50,000/- All in Delivered
without frame

Sale

GK-PRS-MMP001 GK-PRS-MMP002

Prasanta Sahu INR 35000/-
USD 499
Under the Scanner
Mixed Media on Paper UNFRAMED & DOOR DELIVERED
15 x 11 inches | 2010
(Set of 3 works)

GK-PRS-MMP003

GK-MIM-MMP004 GK-MIM-MMP002 Mehjabin Majumdar

Media on High Quality
Thick Imported Paper

15 x 11 inches
(each)

GK-MIM-MMP003

GK-MIM-MMP001

Mixed Media on Paper
15 x 11 inches

INR 33,600/-
USD 535
(Set of 4 works)

UNFRAMED
ALL IN
DELIVERED PRICE

GK-AMD-AOP001 GK-DPN-AOP001 GK-BLS-AOP001

Amritam Das Dipanwita Bilasendu Sil

Acrylic on Paper Acrylic on Paper Acrylic on Paper
15 x 11 inches 15 x 11 inches ; 2007 15 x 11 inches
2007 (each)
SET OF 4
GK-BLS-AOP002
INR 35000
USD 500

ALL PRICES DOOR
DELIVERED UNFRAMED

GK-AB-EP004 Atin Basak

Untitled GK-AB-EP005
Etching on Paper
14 x 19 inches Untitled
Etching on Paper
INR 37,698/-
USD 531 (each) 17 x 19 inches

ALL PRICES DOOR
DELIVERED UNFRAMED

Sunil Das A student of the Government College of Art & Craft in Calcutta, Sunil Das would later also study at Ecole Nationale Superieure des
Beaux-Arts in Paris, and with William Hayter and Krishna Reddy at Atelier-17, also in Paris. Known for his iconic drawings of
1939 - 2015
bulls and horses, Sunil Das painted across several oeuvres, each one distinctive and to which he brought his singular vision. F. N. Souza
once said about Sunil Das: ‘His paintings are often about death and horror.
Sunil Das’s images of the bulls were inspired by his observations during a trip to Spain. And the horses were from, if not at Calcutta’s
racecourse, then at the stable of Calcutta’s Mounted Police, where the artist spent his time observing and sketching them. His flawless
drawings capture the speed, power and energy of the animals. They became symbolic of the energy, aggression and power of modern times
and of his own untamed youthful spirit and a sense of liberation.
He emerged on the Indian art scene as a painter with an astonishing repertoire of technical and formal capabilities. In his subsequent
works, whatever the subject, Das poured himself out on canvas in an obsessed mode of working.

M.F. Husain T he name of M. F. Husain is synonymous with twentieth century Indian art. Born in Pandharpur, Maharashtra, Husain came to Bombay
in 1937 determined to become a painter, where he slept on the footpath and painted under the streetlights. A self-taught artist, he
1915 - 2011 began his career painting cinema posters and hoardings, and, in 1941, making toys and furniture designs. His pictorial concerns were

tied to imagining a secular modern Indian art in a language that translated India’s ‘composite culture’ into a rich mosaic of colours that
were real, mythical and symbolic all at once. As a member of the Progressive Artists’ Group, launched in 1947, he heralded a new freedom
for Indian art in the post-Independence decades. A peripatetic painter, Husain was constantly on the move, covering both geographical
and conceptual territories, and in the last six decades transited at will between painting and poetry, assemblage and performance,
installation and cinema. He experimented with text and images, worked as a solo performer and in collaboration with a team; painted
alongside musicians in an effort to translate music’s elusiveness into the accuracy of pigment and brushstroke.

Jogen J ogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a
Chowdhury skillful blend of an urbane self-awareness and a highly localized Bengali influence. His early works show an attention to figuration

B. 1939 that carries through in his current pieces. During his college days, Chowdhury took part in leftist literary circles, the members of which
dismissed Rabindranath Tagore as a bourgeoisie and became interested in the works of Russian authors. But by and large, Chowdhury kept
himself apart from cultural movements: though a friend of the members of the Hungry Generation, his imagery was drawn from his cultural
background more than his intellectual milieu.
"My background is relevant," he once remarked in an interview, explaining that his life in Calcutta was "quite disturbed with political
movements. This has a definite influence on my work like the Ganesha period. The Bengali business class worshipping the icon, and their
corruption, how they degenerate just like the flesh." The famine, the Partition, and the food movement all cast a pall over his formative
years, and a quality of darkness may be seen to inhere in Chowdhury's work.

Ganesh Haloi B orn in Jamalpur in what is now Bangladesh, Ganesh Haloi was forced to migrate to West Bengal during the tumult of Partition. In
Calcutta, where Haloi had settled along with his family, he joined the Government College of Art & Craft after being admitted to the
B. 1936
commercial art section, where he acquired his personal style of sophisticated elegance and finish. At around the same time, in the Sixties,
he began his artistic career primarily as a painter of landscapes. Perhaps the picturesque landscapes of his lost homeland, imprinted as
childhood memories, inspired in him the imagery of tender, verdant, moisture-laden lands in his paintings. Human presence was erased
from his visual panorama, giving way to a sublime conversation between land and sky, air and water. By the mid-Seventies, Haloi was
acknowledged as an accomplished landscape painter who could evoke metaphysical essences within an ordinary landscape. The
transformation that began in the Seventies consolidated in the Metascape series of 1978, which demarcated a gradual transition from
realism to abstraction.

H ore chose a distinctly formal, Western style of artmaking, distinguished by its strong linear quality, and guided by humanist concerns
as much as the need to depict the catastrophe-enduring figure. The 1943 Bengal famine and 1946 Tebhaga peasant uprising marked

him, reappearing constantly in his works. Distilled into iconic heads and emaciated bodies, his act of recovering the erased re-inscribed
them into public memory, with the anguished human form widely reflected in Hore’s figuration. The appeal of his bold, minimal strokes is
increased by the rough surfaces, slits and holes. Hore’s early sketches were published in Janayuddha and People’s War, publications of the
Communist Party. He was the quintessential Bengal artist deeply affected by the cataclysms that changed its social history, foregrounding
in his works the working class and toiling peasant, grappling with issues of survival.

Somnath Hore

1921 - 2006

Paritosh Sen A painter, illustrator, tutor and writer, Paritosh Sen has been a part of the world of Indian art, for close to four decades now. Sen's
more recognizable works are his caricatures, which reflect strong underlying socio-political shades, and his female nude drawings.
1918 - 2008
His style of representation is influenced by his exposure to Western Modern art, and has traces of cubism. He uses two dimensional,
structured planes but still creates an illusion of voluptuousness.
His drawings and paintings are noted for their strong lines and bold, stylised strokes. Although colour is an important aspect of his
paintings, it is the human figure, expressing a myriad of emotions, that dominates his art. A recurrent subject in Sen's works is his
depiction of scenes from everyday urban life. These activities are rendered from a cynical and detached perspective, which is typically
Sen's viewpoint.
Paritosh Sen has a Diploma in Fine Arts from the Government College of Arts and Crafts, Chennai. In 1942, he moved to Calcutta, where he
and a group of friends formed the Calcutta Group, an association of artists that sought to incorporate contemporary values in Indian art.

B urman uses pointillism and a marbling technique achieved by blending oils with acrylics to create fresco-like works on paper and
canvas. Burman’s paintings often evoke a surrealist feel, referencing multiplicities of time and place. His art drew extensively from

Hindu and European mythology, as well as from the artist’s own memories. Suggesting surrealism, his paintings are populated by humans,
animals and cityscapes that are dreamlike in appearance. His defining oeuvre owes largely to his technique of marbling, which he arrived
at after years of experimentation.
The artist had his first solo exhibition in 1954 in Kolkata, and has since exhibited widely across the world.
He lives and works in Paris.

Sakti Burman

b 1935

Bijan B ijan Choudhury, a Bengali painter, was born in 1931, in Faridapur, Bengal (now Bangladesh). His Marxist prejudices got him expelled
Choudhury from the Government College of Art and Craft even before he graduated. He then returned to Bengal and completed his unfinished

1931 - 2012 graduation from the University of Dhaka. Choudhury, along with Nikhil Biswas, Rabin Mondal, Jogen Chowdhury, Dharaj Chowdhury and
Prakash Karmarkar, founded the Calcutta painters to break from the conventional traditions of the Bengal School of Art. He later headed
the Indian College of Art and Draftmanship. He held a ‘Retrospective’ at Kolkata in 1963 and a miniature interpretation at Paris in 1982. He
has also participated in Indian Artists at Stockholm in 1982, Indian Artists at Goethe Institute, Munich in 1984, The III Triennale, New Delhi
in 1975, the Festival of India in 1982 and 'Trends in Bengal Art' at London in 1986. He was the founder, and fellow member of the Society of
Contemporary Artists and a member of the Democratic Writers and Artists Association. He believed that abstractions in art were caused
due to mere confusion, dilemma and turmoil caused by the Capitalist environment.

A self-taught artist, Manoj Dutta explores traditions of Indian folk art through his works. His admiration for folk artists and their
spontaneity is reflected in the immediacy and directness of his work. Dutta’s carefully curated colour palette creates a harmonious
balance of depth, texture, and shade. His works are often characterised by their eloquent representations of a singular mood or emotion
portrayed through his diverse colour palette and fluent use of line.
Dutta has participated in numerous national and international exhibitions in Kolkata, Mumbai, Japan and South Korea. His work is part of
the permanent collections of the National Gallery of Modern Art, New Delhi and the Birla Academy of Art and Culture, Kolkata.

Manoj Dutta

b 1956

F.N. Souza F rancis Newton Souza's unrestrained and graphic style created thought-provoking and powerful images. His repertoire of subjects
covered still life, landscape, nudes and icons of Christianity, rendered boldly in a frenzied distortion of form. Souza's paintings
1924 - 2002
expressed defiance and impatience with convention and with the banality of everyday life. Souza's works have reflected the influence of
various schools of art: the folk art of his native Goa, the full-blooded paintings of the Renaissance, the religious fervour of the Catholic
Church, the landscapes of 18th and 19th century Europe, and the path-breaking paintings of the moderns. A recurrent theme in his works
was the conflict in a man-woman relationship, with an emphasis on sexual tension and friction. In his drawings, he used line with economy,
while still managing to capture fine detail in his forms. He also used a profusion of crosshatched strokes that made up the overall structure
of his subject.
In 1949, Souza left for London where after a few years of struggle he made a mark on the art scene.

J atin Das is a painter, poet, sculptor, muralist, print-maker, teacher, cultural expert and institution builder and has been working now
for almost 60 years. Born in December 1941 in Mayurbhanj, Odisha, India, Das at 17, went to study at Sir JJ School of Art, Bombay,

under Professor S.B. Palsikar. Das has held 68 one-man shows, in India and abroad and has participated in numerous national and
international exhibitions and artist camps. His works are primarily in oil, watercolour, ink and Conté. He has also created several graphics,
murals, sculptures and art installations. His works have been featured in several public and private collections in India and abroad and
have been auctioned by major international auctioneers like Sotheby’s, Christie’s and Osian’s. In 2012 he was the recipient of the
prestigious Padma Bhushan award, one of the highest civilian awards in India.

Jatin Das

b 1941

Manjit Bawa M anjit Bawa's canvases are distinguishable in their colors - the ochre of sunflowers, the green of the paddy fields, the red of the sun,
the blue of the mountain sky. He was one of the first painters to break out of the dominant grays and browns and opted for more
1941 - 2008
traditionally Indian colors like pinks, reds and violet. "We have been bought up on a staple of ochres, grays and browns in art, thanks to the
British. That's why when I began using bright colors the reaction was negative," points out Manjit, "but I persisted. I have been criticized
for my 'ice cream' colors for years, but they come out of the same Winsor and Newton tubes that other painters use. Bright colors are
closer to the heart of most Indians, familiar as they are with these shades."
Nature also plays inspiration here. When young, he would travel widely either on foot, by bicycle or simply, by hitchhiking. "I have been
almost everywhere - Himachal Pradesh, Rajasthan, Gujarat. I would spread a sheet of paper on the ground and draw the countryside. The
colors and the simplicity of people I met fascinated me." Birds and animals make a constant appearance in his paintings, either alone or in
human company.

Dhiraj D hiraj Choudhary makes no bones about the fact that he is a politically and socially motivated artist. He says, "For me, art is not
Choudhary merely an exercise in aesthetics or technical expertise. That is the reason I have never felt the need to pursue `art for art`s sake`.
The better part of my creative forces, therefore, has been utilized in portraying the ills of our society, and in doing so, the hungry, the
1936 - 2018 deprived, the tortured, the wounded have invariably crept into my works. The pictures I paint may not be pretty, but they are an expression
of my love for humanity and my genuine concern for the world at large. My art is not a pleasure trip. It is the battlefield of my 50-year
Anita Roy struggle for freedom, which is still going on!" Born in 1936, in what is now Bangladesh, Dhiraj Choudhary lived through the freedom
Chowdhury struggle, but doesn`t believe it is over. There are still promises waiting to be fulfilled and goals waiting to be reached. He also believes that
everyday it is a struggle for an artist to rise above their low status.
b 1938
A nita Roy Chowdhury was born into a distinguished family of elites. As a child she had shown her preference for art. She was a highly
imaginative & surprisingly innovative child. After finishing school,she joined the Government College of Art & Craft,Calcutta.In
class,she was fortunate to have Dhiraj Choudhury,Sunil Das,Jogen Chowdhury & Shyamasree Basu as her classmates who would become
important artists of the 60's. In college she was under Satyen Ghosal. Gopal Ghosh was her teacher in second year,who was very liberal to
allow Anita to use colors freely. He may be called the pioneer to Anita in using watercolours. She joined the Society of Contemporary
Artists in 1959 & the group arranged her first solo exhibition in 1962. Since 1969 she became a member of 'Calcutta Painters' &
participated in group shows & solo exhibitions in most metropolitan cities in India & abroad. Some of them being AIFACS,New Delhi in
1963;Academy of Fine Arts,Calcutta in 1964;Jehangir Art Gallery,Bombay in 1966;Sarala Art Centre,Madras in 1969 amongst others.

Prokash P rokash Karmakar learnt painting at his father, artist-teacher Prahlad Karmakar’s atelier, till the socio-political turmoil of the Forties
Karmakar and his father’s early death put an end to it. After his matriculation, Karmakar joined the Government College of Art & Craft,
Calcutta, but quit soon after for reasons of poverty. He joined the army but absconded after two years, driven by his desire to paint. He
1933 - 2014 learnt the techniques of transparent and opaque watercolours from Kamalaranjan Thakur, a former student of his father, and Dilip Das
Gupta. However, it was Nirode Majumdar who acquainted him with artistic and philosophical concepts, techniques, coherence of lines and
Anjolie Ela the breaking of form.
Menon Karmakar held his first exhibition in 1959 on the railings of Indian Museum, Calcutta. His art emerges from a contemplation of life, through
the prism of personal traumatic experiences intermingled with dark moments in our recent history. In 1969-70, Karmakar visited France on
b 1940 a fellowship to study art museums, an inspiring exposure for the expressionist artist who, being ‘primarily a colourist’, began in the
Seventies to create his figurative monochrome paintings. He won the 1968 Lalit Kala Akademi national award, and his work exists in
several collections throughout the world.

T hroughout her career as a painter, Anjolie Ela Menon has regularly re-envisioned her role as an artist. Menon's early canvases
exhibited the varied influences of van Gogh, the Expressionists, Modigliani, Amrita Sher-Gil, and M. F. Husain. Mainly portraits, these
paintings, according to the artist, “were dominated by flat areas of thick bright colour, with sharp outlines that were painted 'with the
vigour and brashness of extreme youth'.” Menon admits that her work has undergone tremendous changes with every phase of her life and
that as she has grown older, the narcissism of the early years has been transformed into nostalgia for the past.
Menon took up art while still in school, and, by the time she was fifteen, had already sold a couple of paintings. Finding the J.J. School of
Art academically stifling, in 1959, at the age of twenty, Menon departed India to study art in Europe on a scholarship from the French
Government. There, she was influenced by her exposure to the techniques of medieval Christian artists. While at the Ecole Nationale des
Beaux Art in Paris, she began to experiment with a muted palette of translucent colours, which she created by the repeated application of
oil paint in thin glazes. Painting on hardboard, Menon enhanced the finely textured surface of her paintings by burnishing the finished work
with a soft dry brush, creating a glow reminiscent of medieval icons. Menon utilized the characteristics of early Christian art – including the
frontal perspective, the averted head, and the slight body elongation – but took the female nude as a frequent subject.

Anupam Sud R ecognised for her influential contributions to the growth of printmaking in India, Anupam Sud is considered one of the most
significant and pioneering artists in India. Her work has been featured in solo and group exhibitions in New Delhi, Mumbai,
b 1944
Bangladesh, New York, Washington, D. C., Japan and Korea among others, as well as the International Print Biennale and Triennale. Her
work is included in collections in The Victoria and Albert Museum in London, UK; the William Benton Museum of Art in Connecticut; the
Worcester Art Museum in Massachusetts; the Jehangir Nicholson Foundation in Mumbai; the National Gallery of Modern Art, New Delhi;
Peabody Musuem; Glenbarra Art Musuem, Japan; and Fukuoka Museum, Japan, among others.
Born in 1944 in Hoshiarpur in Punjab, India, Sud attended the College of Art, New Delhi to study art. In 1967, she was the youngest member
of Group 8, an association of artists at college founded by her mentor and teacher Jagmohan Chopra. Later in 1971, she went to England to
study the advanced techniques of printmaking at the Slade School of Fine Arts, London, UK on a grant from British Council. From 1977 until
2003, she taught at College of Art, New Delhi. She currently lives in Delhi and continues to practise printmaking at her studio at Mandi
village.

B orn in Calcutta, 1941. Graduated from Govt. College of Arts & Crafts, Calcutta in 1963. Between 1966 and 1969 received French
Govt. Scholarship to study painting/printmaking at Ecole des Beaux-Arts, Paris. Two of the highlights of this period were viewing

the cine-collections in Cinematheque and witnessing the student revolt of 1968. Also traveled extensively in Europe and partly in Middle

East. On return, lived in Chennai and Delhi through 1969-1976, and then left for Europe. Later joined University in Nigeria in 1977,

completed Ed.M at SUNY-B, USA, in 1981. Subsequently became Head of Creative Arts at University of Port Harcourt, till 1988. During this

period of 11 years, studied African arts and traveled in Africa. Exhibited in Nigeria, Europe and USA. Presently works and lives in Calcutta

since 1989.

On Inscription Series

Amitabh The sound in nature attracted mans inquisitiveness and the survival quest. Man mimicked sound to understand nature and communicate. It
Sengupta
gave speech and words; and meanings to words. Sound to speech, and words; objects to pictograms and to alphabets. Journey is on.
b 1941
The very process of written words is like completing a painting, only through the ages and many minds. A script is symbolic pictogram of

mans dialogue with nature; thus words and sentences are entering the silent zone of communication through time and space.

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