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Original
Room
The Quiet Column
Product ID: MhatreVinay_202505_04_002_2020
₹ 39,200
Inclusive of 5%
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| Size | : 20" x 20" |
| Medium | : Acrylic |
| Surface | : Canvas |
| Frame | : Included in the price |
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View Refund PolicyThe Quiet Column
The Quiet Column is a 20" x 20" acrylic original by artist Vinay Mhatre, and it strips the harbor and village vocabulary running through the rest of this series down to almost nothing. A single upright form, weathered brown and silver, stands slightly right of center against a pale, near-empty grey field.
The form itself is built from thick, worked paint and applied metallic leaf or foil, catching light unevenly across its surface the way real rusted metal or aged timber would, its edges torn and irregular rather than cleanly painted.
Above it, a narrow horizontal band in deeper grey crosses the top of the canvas, along with a faint, boat-like shape drifting in the upper left corner — the only other mark of incident in an otherwise open field, and even that stays soft and half-resolved, more a suggestion caught at the edge of vision than a shape meant to be read clearly. Mhatre leaves generous open space on either side of the column, a deliberate choice that gives the single form room to be read as genuinely alone rather than crowded by any competing detail.
Small flecks of foil and torn paint scatter loosely across the lower portion of the canvas, a light scattering of texture that keeps the pale grey field from reading as completely flat or empty.
Mhatre's restraint here is deliberate: where several pieces in this series build a dense, layered harbor scene, The Quiet Column isolates a single vertical presence and lets the surrounding emptiness carry as much weight as the form itself.
This is a hand-painted acrylic original on canvas, not a reproduction. The metallic passages on the central form are the piece's most tactile element and read differently depending on the angle of the light, sometimes catching a bright glint and sometimes settling into a duller, weathered grey. The empty field surrounding the column is not left entirely untouched; close viewing reveals faint scratched marks and tonal shifts across the grey ground, evidence of the same layering process used in the busier compositions elsewhere in this series.
The Quiet Column sits alongside pieces like Amber Fields in Mhatre's Guest Artist collection, continuing his interest in reducing a scene to its barest structural elements. Its pale, minimal palette suits a meditation space, hallway, landing, or any quiet corner where a single still presence fits the mood of the room without asking for constant attention.
Standing this close to abstraction, the column reads less as any one specific object and more as the idea of something upright and solitary, left standing and weathering on its own long after whatever it once marked has gone.
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