Mr. R.B. Bhaskaran and Mr. A. Anjaneyulu for their guidance.
Authors and Newspapers for their publications.
Family and friends for their encouragement and support.
Art unites North and South, Sanjali Saxena, HINDUSTAN TIMES, MY CITY, LUCKNOW, 3 July 2019
Canvases of transcendental ideas and aesthetics, Rinreichui Kashung, NEW INDIAN EXPRESS, 23 February, 2019
`Kavitha Prasad, an Architect cum- artist and a fan of JMW Turner, says her style of painting is semi-abstract. Our favourite among her paintings was one with the banyan trees and floating lotus, where the layers were aplenty.
“I concentrated on light and atmosphere — they play an important element in this painting,” she said.’
Light on the shadows, Tanya Talwar, THE HINDU, METROPLUS DELHI, Saturday, July 31, 2010
... Kavitha Prasad's new creative contribution, “Shadow Spaces”, is a delightful outpour of watercolour on handmade paper. Mounted at New Delhi’s Shridharani Gallery, her work has a touch of memory long ignored. Kavitha is a master when it comes to bringing these cluttered corners to life...
Treasure of trash, Ila Sankrityan, PIONEER VIVA CITY, NEW DELHI, Tuesday, August 3, 2010.
A junkshop caught her attention ... recalls Prasad, an accomplished architect turned artist who is currently exhibiting her creations in the capital.
Events report, PUNJAB KESARI, Friday, July 30, 2010.
Watercoloured world! , Express Features, THE NEW INDIAN EXPRESS, Saturday, December 13, 2008
.... A series of paintings in watercolours on handmade paper, these are inspired by little everyday things one would easily watch outside the window. Earthy tones, soothing colours with very little variation of shades speaks volumes about the artist’s caliber in conveying so much detail. Browsing through these works is a delight for anyone, even an amateur in art appreciation. Evident strokes and more so the evident usage of handmade paper over conventional canvas makes a statement even as you just step into the gallery...
Playing with colours, Divya Kumar, THE HINDU, METRO PLUS CHENNAI, Tuesday, Dec 09, 2008.
The cluttered corners of our everyday lives, recycled goods and discards, dusty attics and crowded worksites. That’s where Kavitha Prasad has drawn inspiration from for her on-going exhibition at Vinnyasa Art gallery, ‘Shadow Spaces,̵ ; and the result is a series of unusual, evocative works...
There’s also plenty of detailing — the use of lines, shading and speckles to capture the sense of the contained, static chaos in these spaces, and of the mustiness and dustiness that always accompanies it. The result is that these paintings become more than about just the ‘things’ that lie forgotten, and are evocative of the sense of nostalgia you feel when, for example, you stumble upon an old shelf or a storeroom full of memories.
Imagery that creates nostalgia, Chitra Mahesh, DECCAN CHRONICLE , Chennai, Thursday 11 December, 2008.
...She calls her work 'semi-abstract' and is fascinated by the way light falls on things creating its own ambience. And these discards and throwaways are thrown at unseen corners to be ferreted out at another time, and the images are dimly visible through the atmoshpheric poetry of a wayward ray of light creating dark visual music through notes of highlight and stygian darkness.
NEWS TODAY, ENTERTAINMENT, Saturday, 06 December, 2008
DAILY THANTHI, Sunday 22 Dec 2008.
Swapna Sathish, MADRAS MUSINGS, September 1-15, 2007.
‘Kavitha Prasad's Animal Architecture depicted bull sculptures atop temple walls, gargoyle water spouts in old Mylapore houses and plaster, terracotta, metal or stone sculptures. Metaphorically tied together by architectural grids, dimensions and notes, the animals in the background were seen as two dimensional architecture representatives of real animals. … Open and accommodative to variety, the vibrancy and dynamism of the city were evident in her thematic works - be they representing architecture or sport.
Ashrafi S. Bhagat, THE HINDU, Saturday, August 6, 2005.
‘Kavitha's watercolours explore her anxiety and stress at being located within a male dominated professional world. Her architectural interests find expression in her structured compositions.’
Chitra Mahesh, DECCAN CHRONICLE, August 6, 2005.
‘Kavitha Prasad, who has touched upon the working woman in her series of watercolours, displays the constant struggle of a woman in a working environment. The paintings show different tools of trades – like the quintessential Istri Potti ( iron box) or the large banni or kadai or bundles of firewood collected against backgrounds that move from dark to lighter shades depicting the depth and nature of the work, and showing constant trials and tribulations.’
Marta Jakimowicz, DECCAN HERALD, Monday, February 09, 2004
‘Her water colours … contain a certain freshness of innocence.
This can be noticed in the quite abstracted flower forms, where only delicate lines and hues remind of hibiscus or lotus petals opening out softly, while the rest slowly dissolves into widening rhythms and near-whiteness…’
Swapna Sathish, THE HINDU, Thursday, Sep 25, 2003
‘Meditative pastel colours on paper capture an entrancing impression of floating fluid forms that thoroughly exploit the medium, the dreamlike magnifications of the diaphanous flora emanating a tantalising elegance.’
Lakshmi Venkatraman, THE HINDU, Friday, March 5, 1999.
‘Kavitha’s watercolours emanate a sense of peace and quiet in their mild pastel shades of yellow, brown, grey and ocher with a dash of red, orange and green. The medium itself offers her the possiblilty to achieve the translucency and the filtered sunlight through the gaps of the banyan tree are brought out effectively and suggest the various seasons of the year.’
Ranjan De, THE NEW INDIAN EXPRESS, Sunday, March 14, 1999.
‘Kavitha Prasad has captured the very spirit of the banyan and the dappled scrubland of the Guindy park in her watercolour renditions. Her paintings capture the subtle variations of light-play amongst the roots, trunk and branches of the banyan. Her muted palette makes poetic visual statements… miniature panels are where her skills and control of the medium really comes to the fore.’
Chandra Ilango, Art critic.
‘Kavitha’s response to the movement of seasons, to the changing moods of nature, is seen through the play of colours on her palette. The same trees are seen at different moments, responding to changes within and without… at times joyous and radiant, at times quiet and meditative. .Working in the negative space between the key lines is challenging, and through layering, attenuation, and gradation runs a fine, almost mystic line of coherence and focus, that winds its way across her work and anchors her response.’.