S. Ravi Shankar is certainly one of the most popular and impactful artists in The Noble Sage collection. His 2010 solo exhibition was just as celebrated as his two previous showings at The Noble Sage Art Gallery in 2007 and 2009, both selling well globally as well as to London buyers. This continued appreciation has much to do with the conceptual meanings and visual vocabulary behind Shankar's work expanding and self-elaborating, giving audiences (consciously or unconsciously) reasons to go back again over the material: both within the show during a visit or in terms of a second and third visit to the exhibition, or else go over areas again during the one viewing of a single piece, or in some cases even buying more and more work to get a better grasp on Shankar's art and its meaning.
The complexity of Shankar's visions are becoming increasingly cryptic, layered and cross-referential. As a patron, dealer and collector of Shankar's pen and ink drawings for six years, I am starting to see that this artist demands viewers to use nothing less than an investigative eye to get the most from his work. We must constantly piece together clues on the surface and between surface levels. The process is often much like trying to complete three monochrome, half-complete jigsaw puzzles whilst they are laid on top of each other and all at the very same time. And then seeing how the images emerging relate to other similar puzzles nearby. Not easy.
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