MARTIAL STROKES, MOVING MESSAGE: KRITI ARORA
Hindu Times, October 14 2005 by Sangeta Barooah Pisharoty
Kriti Arora's attachment to the Indian Army began before she was born. Her maternal grandfather had retired from the brigade after a long innings, only to be emulated by her maternal uncle. Two people she spent many impressionable years with
So a series of army men's tales told to her continued to grow within her. Centring on times spent at the frontiers, times good and trying. And perhaps that has found an unconscious vent in her latest paintings shown recently at Art Alive in New Delhi.
Four huge canvases, hung at the gallery as part of a group show, contain rather crude faces made hard by the daily grind, pulsating with pairs of eyes that seem to address you directly.
ART IN REVIEW; PRANEET SOI AND KRITI ARORA
New York Times, April 20 1999 by Holland Cotter
The hollow sculptures of Kirit Arora, who has studied in Baroda, India, and at the University of Massachusetts, are semi-abstract terra-cotta forms of temples and mosques. In each case, the clay was smoothed out into thin sheets with a rolling pin, molded and pinched in a hollow form, then fire-baked like Indian bread, leaving its surfaces alternately pale and singed.
The artist is also showing photographs in which slide images of temples, mosques and Indian paintings have been projected onto her figure, a format similar to that found in the work of the British artist Sutapa Biswas. But it is the sculptures, with their implications of domesticity and religion and of sagging and puckered flesh that make an impression here.