Media|Textile - Artworks of Milos Bhat

Female Figure
Constructed De-Constructed

Left. Constructed. 1997. Textile, styropor on hardboard.2012
Right: De-contructed. 2012. Styropor removed and the textile painted.
Hardboard Dimensions: 102 x 77cm.

Formed and deformed for purely utilitarian reasons, the process, however, did offer a stylistic adjustment. The original, almost silky poplin cotton, which, because of its fine look, I did not want to cover with ultraviolet and dust protection fixatives, eventually did lose that shine and even became yellowish during the decades and multiple apartment shifts. Framed, it might have even lasted longer. So, I decided to paint it and give it a new, more suitable appearance by removing the styrofoam that had given it a more prominent three-dimensional look. Well, if that ain't deconstruction!

Textile H₂O

1997
Textile, cardboard, styrofoam and acrylic on hardboard
76 x 102 cm

Structure, Form
&
One of its countless Functions
To facilitate the joyous tummeling of the dolphins.

Polyrhythms

1997
Textile, styrofoam and acrylic on hardboard.
100 x 110cm

Afro Polyrhythms, inspired by the Safwa semi-secret ritual funeral dance in Busokelo, Mbeya, Tanzania.

Surface Warp

1999
Textile and oil on plywood
80 x 100cm

Series: Spatial Geometry. Topology

Seven Probes on a Snow White Planet

2006
Textile, paper and tempera on a cutout carton
70 x 100cm

Series: Textile, Structure, Form and Gestalt.

Muse Euterpe & The Three Graces

2002
Textile and oil on canvas.
50 x 70cm

Totem & Taboo
The magic inside a piece of cloth

2008
Necktie, shirt and sandals on hardboard
100 x 70cm
Private Collection

This work was inspired by some sarcastic comments from people, including my colleagues at the airport Tegel, Berlin, on seeing a Bavarian peasant wearing corduroy shorts with straps, a necktie, and sandals with long socks. A necktie literally imposed a specific set of dress code, and certainly no sandals. The peasant, by the way, was authentically a gentleman, absolutely a fatherly adult, and certainly above the mundane rut, to even notice the surprised looks, some even jeering from a couple of the ladies. The event inspired me to write a whole essay on the magic of this small piece of textile in the industrial world.

An Asian Textile Composition

2019
Textile, acrylic, tempera, textile-tape on cutout carton
70 x 100cm

Textile Composition SFG-22

2000
Textile, paper and tempera on a cutout carton.
77 x 44cm

Series: Structure, Form & Gestalt.

TC SFG-32

2000
Textile, paper and tempera on a cutout carton.
44 x 77cm

From the series: Structure, Form and Gestalt.

TC SFG-20

2000
Textile, paper and tempera on a cutout carton.
44 x 77cm

From the series: Structure, Form and Gestalt.

Textile Ballet

1997. Amended 2019
Textile, carton, paper, acrylic and lacquer on a cutout carton.
70 x 44cm

Textile Topography

1999
Textile and acrylic on plywood
90 x 110cm

From the series: Spatial Geometry. Topology.

Strange Encounter

1997
Textile on a cutout carton.
70 x 80cm

From the series: Structure, Form and Gestalt.

Textile Composition SFG-17

2000
Textile and watercolors on cutout carton.
44 x 77cm

From the series: Structure, Form and Gestalt.

Rhea prods Clotho

2002
Textile and oil on canvas
50 x 40cm

The analogy of Time (Saturn) eating his own children is a wonderful anthropomorphizing of the cosmos. In the quantitative realm of the physical sciences, Time may appear not to exist or rather to exist in a Platonic realm, where it flows in both directions, for which, by the way, the ancients did not lack an analogy either, think of Janus, the two-headed deity. But the fact that it is the women scheming tricksters, the mammalian brood-oriented deities, who finally manage to overpower this mightiest god of Time itself, should probably not be all that surprising. Hesiod and the Abrahamic theologians all give the ladies the credit for taking the first crucial steps in epochal transformations.