"Nature is a haunted house--but Art--is a house that tries to be haunted."
― Emily Dickinson, The Complete Poems of Emily Dickinson

AAI Art Camp "PRERNA-3" AAI art camp

PRERNA-3

AAI holds 3-day art camp

Thesynergyonline Art and Culture Bureau
photo
Members of Airports Authority of India`s Women Welfare
Association, Kalyanmayee, at art camp in New Delhi

The inauguration

NEW DELHI, JULY 29 : Airports Authority of India`s Women Welfare Association, Kalyanmayee, added another feather to its cap by hosting yet another astounding artist's camp "PRERNA -3". The three-day camp was organized atAirports Authority of India Officers Institute premises in association with AAIAF (AAI Artist Forum) & FIPA (Forum of Indian Photographers and Artists).

The participation

A total of 20 artists participated in this art camp. The theme for this year`s camp was "FREEDOM" and it was an enchanting experience for the artists to paint in breath-taking lush green ambience of the AAI Officers Institute. This is the third Art Camp organized by Kalyanmayee and two Art Camps organized last year was very well appreciated by all.

The camp was inaugurated in the presence of Mr Anuj Aggarwal, Member (HR) AAI, Mr I.N. Murthy, Member (Operations) AAI, Mr Sanjay Jain, Executive Director (Human Resource), Vice Presidents and other Senior Members of Kalyanmayee.

The aim

The Art Camp aims at providing a robust platform for both the eminent and the new upcoming artists for exhibiting their creativity and talent. The artistic works of these artists will be put up on display for art enthusiasts and general visitors in the near future.


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"It is ten per cent how you draw, and ninety per cent what you draw." ― Andrew Loomis

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"Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it." ― C.S. Lewis, Mere Christian

"In Europe, being an artist is a form of behavior; in America, being an artist is an excuse for a form of behavior." ― William Faulkner, Mosquitoes "To require perfection is to invite paralysis." ― David Bayles, Art and Fear: Observations on the Perils (and Rewards) of Artmaking

"Learning stamps you with it's moments. Childhood's learning is made up of moments. It isn't steady. It's a pulse." ― Eudora Welty, On Writing "Cutting down a wall, the wall sawyer could feel the tension in a home ease and something windy rush in circles round her feet. It was addictive, each a sweet victory of art. The tumbling motion of a falling wall was like a volcanic eruption fading into a mountain of roses. The wall sawyer felt a loving animosity toward walls. "You must pay attention to your obsessions, where life and love intersect," she told the little queen. " ― Meia Geddes, The Little Queen

When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.' An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art." ― L. Ron Hubbard

Intellectual work sometimes, spiritual work certainly, artistic work always —

these are forces that fall within its grasp, forces that must travel beyond the realm of the hour and the restraint of the habit. Nor can the actual work be well separated from the entire life. Like the knights of the Middle Ages, there is little the creatively inclined person can do but to prepare himself, body and spirit, for the labor to come — for his adventures are all unknown. In truth, the work itself is the adventure. And no artist could go about this work, or would want to, with less than extraordinary energy and concentration. The extraordinary is what art is about." ― Mary Oliver, Upstream: Selected Essays

"The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science." ― Albert Einstein, The World as I See It