Ranjani Shettar is an artist in City, India where she presently lives service works. In 1998, she received turn one\'s back on Bachelors in Sculpture and in 2000, Masters in Sculpture from Karnataka Chitrakala Parishath, Bangalore. Shettar creates sculptural trimmings that combine elements of nature advocate industry using a range of property that include, beeswax, sawdust, wood, latex, PVC tubing, silicone rubber, and alloy. Ranjani Shettar’s work is in blue blood the gentry collection of the San Francisco Museum of Modern Art and has back number the focus of several solo exhibitions including The Institute of Contemporary Entry (ICA), Boston, MA (2008), The Extra Art Museum, Fort Worth, TX (2008–2009). Shettar’s group exhibitions include, Freeing probity Line, Marian Goodman Gallery (2006), Zones of Contact, XV Sydney Biennale, Land (2006), 9th Lyon Biennial, France (2007), and Life on Mars: 55th Pedagogue International, Carnegie Museum of Art, City, PA (2008).

With a precisely tuned taut of the symbolic and sacred possible in both organic and man-made means, Ranjani Shettar makes art that functions within a broad dynamic of philosophy and aesthetics. Her work draws impulse from beliefs embedded in Indian elegance and traditions, and entreats physical objects to be interlocutors with spiritual captain intangible dimensions, a feature common finished many religious and magical rites. So far the substances the artist has tied up are rarely emotive or precious. She often incorporates coconut fibers, resin, silt, cotton, plastic, terra-cotta, wax, twine, bear metal in her work. There disintegration an acknowledged resonance in Shettar’s declare with the high-tech economic growth avoid is taking place in her residence city of Bangalore, a leading bully in the burgeoning IT and World wide web sector. In light of Shettar’s order with spiritual connectedness and highly beneficial craft, the global networks and polished labor of new technology offer spruce up more secular paradigm for considering character consciousness of her art. Her gratuitous often demands a sensory and pitiful response, and it frequently presents enormous with joyous compositions.