Simultaneity may not be an absolute relation between events; what is simultaneous in one frame of reference will not necessarily be simultaneous in another. Unlike in physics which is restricted by laws governed by mathematics where the attainment of absolute simultaneity can only be a theoretical proposition, Reddy's practice unbound by the unyielding parameters of science, truly perfected a simultaneous balance between technique, philosophy and vision.
Krishna Reddy's seven-decade long practice has been in several ways a quest in simultaneity not only in pursuit of form, medium and technique but also in expanding philosophy and in ways of seeing. The solo project at Experimenter presents Reddy's exceptionally multi- dimensional and layered artistic oeuvre as a way of life that incorporated a daily immersion in drawing, printmaking and sculpture, which remained true to exploring simultaneous relationships between multiple disciplines being at play at the same time.
Krishna Reddy consistently experimented with form, technique and application. Initially trained in Tagore's Shantiniketan under the tutelage of the influential Ramkinkar Baij, Reddy moved to London in 1949 studying sculpture at Slade School of Fine Art in Henry Moore's class. Thereafter he spent over two decades in Paris, first at the studio of Ossip Zadkine and then eventually co-directing Stanley William Hayter's Atelier 17, which was at the time (1960s), a thriving hub for stalwarts like Joan Miro, Constantin Brancusi, Pablo Picasso, and Alberto Giacometti, with all of whom he closely worked. At Atelier 17, he developed and invented the process that he is most well-known for — simultaneous multicolour viscosity printing and broke new ground in intaglio printmaking.
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