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Gully
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| Size | : 15" x 11" |
| Medium | : Pen and Ink |
| Surface | : Paper |
| Frame | : Included in the price |
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Gully is a 15" x 11" pen and ink original by artist Umesh Ghadge. The view looks straight up through a narrow lane — a gully, in the everyday word the title uses — hemmed in on both sides by old buildings with balconies, shuttered windows, and air conditioning units, the space between them crossed by a dense web of overhead electric wires.
Ghadge renders that tangle of wires as the composition's central subject, dozens of individual lines crossing at odd angles overhead, a genuine record of the improvised infrastructure that defines so many older Indian city lanes.
The buildings on either side are worked in dense, varied stippling and hatching, each balcony rail, window shutter, and patch of aging wall given individual attention rather than simplified into a repeating pattern.
Small architectural details — a hanging sign, a lamp post, a narrow gap between structures leading further into the block — are picked out with enough specificity that the drawing reads as a real, particular place rather than a generic old-city alley.
This close, upward-looking framing is distinct from the more conventional street-level views found elsewhere in Ghadge's collection, choosing a genuinely disorienting vantage point over a straightforward facade study.
The compact scale suits a hallway, stairwell, or a grouping with the artist's other street scenes, where the shared dense linework ties the works together.
This is a hand-drawn pen and ink original on paper, not a reproduction. The overhead wire tangle is built up in fine, individually placed lines, part of Ghadge's consistent technique.
Gully finds real order in visual chaos — a hundred small crossing lines that, together, read unmistakably as a specific narrow lane.
Gully sits alongside pieces like Taki in Ghadge's Guest Artist collection, part of Ghadge's patient, structured pen-and-ink studies of Mumbai's overlooked corners. As a pen and ink drawing on paper, it suits a slim, simple frame under glass that lets the linework read clearly without competing for attention. Beyond the spaces already suited to it, Gully also works well in a music room for a slightly different feel.
Pieces like this tend to be built in stages, and the finished surface still carries visible traces of that process rather than hiding it. Indirect natural light generally shows the surface at its best, and keeping it out of direct, prolonged sun helps the colours hold over time. Being handmade, minor variations in surface and stroke are expected and are part of Ghadge's process, not a defect.
