component in the artist’s approach.
attention to the pristine beauty of the human form. Colour, an integral part of the artist’s oeuvre, is used primarily with a view to accentuate form – its volume.
In the early years, Ravinder Reddy chose to work only with terracotta and bronze casting. In the 80s he discovered the tactile flexibility afforded by fiber glass. In recent years, several large public commissions at international venues lead him to once again cast in bronze at international foundries that were able to fulfill his requirements of scale. The impact of these monumental works is akin to being confronted by larger than life religious icons from an imaginary pantheon.
Form thus remains the mainstay of his oeuvre, even as aspects of the ceremonial and elements of kitsch blend together fluidly to dazzle the eye: the surface grandeur, which lends the voluptuous gilded figurines an air of royal splendour, too draws attention to the meticulous modeling of the form. The aesthetics of form, as seen either in the female heads, the full frontal female nude, or the male torso, remain of prime importance to him. He says: “Decoration is but a way of breaking surface monotony: volume is broken by adding earrings, nose rings or painting the lips in different colours, so that diverse materials and contrasting hues set each other off in dramatic ways drawing attention to the primacy of form.” In the course of a trajectory that spans nearly three decades, Ravinder Reddy’s monumental figurative works have been honed with remarkable skill. They are now presented with perceptible refinement.
‘Migrant’, 2010. Painted Polyester Resin Fiberglass. Height 44 x width 21 x depth 21". (front and profile view attachments). INDIA PERSPECTIVES VOL 24 NO. 6/2010
68
The artist’s larger interest lies in recording change. The rural/urban divide and the paradoxical shifts of urbanization form the fecund field from where he continues to harvest his imagery. In the process, the work becomes (also) a social commentary.
‘Bronze Head for Diego’, 2009-10. Gold Gilt and Paint on Bronze. Height 300, width 193, and depth 271 cm.
Each work has become more elaborate with reference to finishing and detailing. The emphasis on the decorative, especially towards hair adornments and jewellery is greater. The eyes too are treated differently. There is a definite shift in terms of proportion
and elongation. The poetically named women’s heads possess a more confident allure: They are, at once, goddesses and seductresses, in varying degrees. The sculptural tableau though depict the human condition with certain poignancy – empathy is an important INDIA PERSPECTIVES VOL 24 NO. 6/2010
69
Drawn to the tribal and the folk idiom, where grace lies in the expression and texture, he is also drawn to the abiding lure of the classical. Ravinder Reddy’s work continues to be a resplendent and entirely contemporary amalgamation of these lively and formal strains.
◆ The author is an arts consultant and writer.