VISUAL DISOBEDIENCE
A Group Exhibition featuring Yuvan Bothysathuvar, S Ravi Shankar, Saravanan Parasuraman, Ganesh Selvaraj

18th Sept - 17th Oct 2026

KYNKYNY presents “Visual Disobedience”, a group exhibition featuring Yuvan Bothysathuvar, S Ravi Shankar, Saravanan Parasuraman and Ganesh Selvaraj. Lines are among the most elemental structures through which we apprehend the world. They describe, contain and interrupt space; establish boundaries, generate rhythm and movement, and give form to the visible. Alongside geometry, perspective, colour, texture and light, line becomes a means through which artists construct and interrogate space. In Visual Disobedience, these fundamental elements are explored through material, predominantly paper, alongside a singular and striking engagement with iron.

The exhibition brings together four artists whose practices engage abstraction through an intimate investigation of line, geometry, colour, form and material. Their work may be situated within a broader lineage of Indian abstraction, particularly the modernist experiments that emerged from the Madras Art Movement. Artists such as K.C.S. Paniker and L. Munuswamy developed vocabularies drawing upon geometry, symbolism, philosophy, vernacular visual traditions and the spatial possibilities of the picture plane. Rather than treating abstraction as a departure from lived experience, this strand of Indian modernism frequently located the abstract within systems of knowledge, perception and cosmology.

The artists inherit aspects of this legacy while subjecting them to distinctly contemporary processes of making. Paper, which constitutes the overwhelming majority of the works, is treated not simply as a support or surface, but as an active and transformative material. Through cutting, folding, layering, constructing and manipulating it, the artists push paper beyond its conventional two-dimensional limitations. Flat sheets acquire volume; lines advance or recede; planes shift through perspective; and geometry, repetition and vibrant colour combine to create optical illusions and unexpected visual effects.

The large iron sculpture extends this exploration into another material, creating a dialogue between mass and void, form and line, solidity and space. Across the exhibition, familiar materials are transformed into complex visual experiences, continually challenging our perception of what is flat and what is dimensional. Together, the works invite us to look again, disrupting the expected relationships between line, form, colour, depth and space.

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YUVAN BOTHYSATHUVAR


Yuvan Bothysathuvar approaches abstraction through accumulation. His intensely coloured works are constructed from ordinary materials - newsprint, plywood and assorted papers - which are transformed through a laborious process of rolling, layering and assembling. What initially registers as an expansive abstract field gradually reveals itself as complex aggregation of discrete linear elements. The works oscillate between flatness and volume, image and object, surface and depth. Colour becomes both structural and perceptual, producing subtle shifts in tone and density that animate the surface and activate the viewer’s encounter with it.

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SARAVANAN PARASURAMAN


Saravanan Parasuraman’s practice turns towards the circle and sphere as recurring formal and conceptual structures. Through the repetition and organisation of geometric components, his works evoke systems that
operate across radically different scales - from cellular structures and microscopic forms to planetary bodies and celestial configurations. His experiments with density, colour and material produce configurations that recall the visual logic of mandalas and yantras without functioning as direct representations of either. Instead, these forms become propositions about interconnectedness, recurrence and the passage of time, bringing the microcosmic and macrocosmic into a shared visual field.

GANESH SELVARAJ


In the work of Ganesh Selvaraj, paper-cut forms become instruments for mapping an interior terrain. Repeated organic and geometric elements intersect and proliferate across the surface, creating compositions that appear simultaneously ordered and in flux. His intricate paper constructions foreground the relationship between repetition and transformation: a single form, reiterated across the picture plane, becomes part of a larger visual system. Light and shadow further complicate these surfaces, revealing a material language in which the physical act of cutting becomes inseparable from the exploration of psychological and spatial states.

S RAVI SHANKAR


For S. Ravi Shankar paper became a means of constructing architectural and increasingly sculptural picture planes. His compositions are characterised by symmetry, repetition and measured intervals, with laser cutting extending a practice rooted in drawing and printmaking. The precision of the cut is counterbalanced by the fall of light across the surface, producing shadows that continually alter the viewer’s perception of depth. Working largely within a monochromatic register, Shankar’s reliefs occupy an intriguing space between image and object: their formal order invites close scrutiny, while their quiet materiality establishes a contemplative register.

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