As Dr Alka Pande pointed out in her 2018 essay for the same event, our cultural conundrums can be a bit like “a soup bowl of the post-colonial and the post-modern artistic fermentations.”Indeed, our complex history has always been a distant landscape against which the immediacy of the contemporary unfolds, its importance growing or receding depending on the context within which the exhibition takes place. Before addressing the individual artists and the art works that command one’s attention, I would like to address the phenomenon of having a separate event for women artists, in fact I would like to examine the word ‘woman artist’ itself. Those existing within the average patriarchal set up often question a women’s only space, calling it Zenana like with a dark sense of humour asking why do women still have to be treated separately in 2020. The answer is that it provides a sanctuary where intellectual, spiritual and cultural advancement is nurtured. Numerous studies and organizations such as the Women’s College Coalition document that going to a women’s college or a woman’s only space, “greatly  increases the chances that a woman will become a leader in a traditionally male (and hence better paid) field.”

Additionally, one must congratulate Artscapes for holding an event that is dedicated to celebrating the talent of women. Artscapes is a profitless and non-government establishment which aims to encourage, reinforce and bring forth artistic talent in the various categories of artistry. They endeavor to create
inspirational art in numerous categories, from Visual Art, Literary Art, to the Performing Art and Literature in India and Abroad and professional training subjects.

It has been seriously documented that woman only spaces report greater opportunity for women to assume leadership roles, excel in fields that have been traditionally reserved for men, and they are known to possess higher levels of self-esteem and self-achievement when compared to co-educational spaces. Moreover, it is beneficial for society to be exposed to a female only space that contemplates the issues that are faced primarily by women who have been designated as the ‘fairer but weaker sex’, in a ‘man’s world’. This however, this does not imply that women should not have dialogue or interaction with their male counter-parts, or exist in a vacuum. Instead it suggests that this dialogue happen on an equal playing ground that is not over shadowed by bias and preconceived notions of what women artists can and cannot do.

Approaching the artworks that I as an art critic and curator find interesting and captivating, I must indicate that there is no hierarchy in the order within which I
mention them, but certainly a level that reflects my own personal interests and lived-reality. In that context, I site the work, Debating Myself, by Delhibased, Saudamini Mishra. An acrylic on canvas in black and white, the work displays a technical acumen of hyperrealism, but more importantly it possesses a vulnerable narrative that captures a woman in a debate with herself. It is a dual of the self where one woman appears dressed in a semitransparentblouse,
with conventional make-up on, a fancy coiffured hairstyle and a mirror gripped in her hand, while the other is a portrait of the same woman, dressed in a no-nonsense roll-neck top, with glasses perched on her nose as she is pointing meaningfully to her notebook with her pen. It capturesperfectly the diurnal struggle between intellect and beautywithin womanhood.

One assumes that this is a self-portrait, where one of the selves tries to balance the other, however it has a universal appeal to the urban working woman, who is typically in this condition facing what may seem like an everyday decision—should one be seen as ‘an object of beauty’ or as ‘part of the work machinery?” An attractive woman or one of the boys?’ The artist throws this question out there for the viewer to contemplate.

Another work by sculptor Nusrat Jahan, titled WeHave Challenges, speaks volumes of the difficulties faced while conforming to the ‘beauty myth. It is a sculpture of a wooden platform shoe, with a set of painful-looking nails emerging from thesole where the foot is typically kept, indicating and sharing the experience of cultivating the ‘perfect heightis a painful process. On the other end of the spectrum of these narrative realistic works is an etching by Neetu Gaikwad (from Bhopal), which appears to be a collection of swirling textures and basic forms and shapes, however with time and contemplation there are human forms that emerge from the chaos.

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