A Chimera of Absurdist Realities

Aditya Pande’s work is not easy on the nerves. It is ​almost ​discomforting ​​at first and even in the middle. The end is another story.

I speak only of myself since I do not wish to convince, I have no right to drag others into my river, I oblige no one to follow me and everybody practices his art in his own way.
Tristan Tzara, “Dada Manifesto 1918”

One can imagine a similar consternation when the Dadaists unleashed their art upon the world. But, like the works of that hallowed group,​ his art ​too seems to be made from a place of great belief and passion. This cross between traditional art practices and digital interfaces could not have been easy, for it is a thorny path laid with prejudice. But Aditya Pande’s Art as ​Art is a remarkably easy potion to digest. His work​ spreads across the surface like a manic diagram and​ maps his ambition across a dysfunction of objects, movements, ​life​forms. It reflects the possibilities between the two practices​ and internalises it​. Through his interventions of medium and approach, he creates his marquee of art. An entropic frenzy​​ ​that coalesces and connects.

His art has a delightfully nerdist nerve, entangled across a cross-section of human-vector-animal-humane​-amorphous​ interactions. Hand-drawn sketches, digital renders, collages, photography, found prints, all create a ​wacky ​mixed tape​ of our mass culture. A palpable sense of curiosity lights his works. He takes the fundamentals of shapes and layers them with a complexity of absurd equations. Aditya Pande adds depth in a manner that gives his flat images a unique multi-dimensionality. A wary wit lurks beneath, and with his imagination parked quietly on the hills of obscurity, his art sparkles. Every work strings you in with its uncontrolled abstraction. Like peeling the layers of a scene and watching the ​raw ​emotions suspended in action, in reach, gaping wounds, ugly scars, messiness -​ ​a​ miasma of chaos. ​So, when one comes back to the end – ​his art is positively sublime.