Krishna's in Erskineville but does he belong there?

A controversial new artwork has some Hindus incensed, but the piece by Indian-Australian artist Leon Fernandes is a great talkingpoint

BYANEETA MENON

Hi11d�1s worldwide haveexpressed theirconcernover arecent art exhibition by Sydney artist Leon Fernandes who has depicted Hindu Gods andGoddesses illmodernisedcontexts.Urgingforthe immediatewithdrawal ofthe controversial piece, 'KrishnainErskineville',some commentators from thecommunityhave feltthattheartworks"trivialise" highly revered deitiessuch asLordKrishna,Lord GaneshaandGoddessDurga.

Agay Indian-Australiananist,Leon Fernandes (aboveright)has aunique creativemind and aradical senseof humour, which beincorporatesinto his mb,edmediapieces,madeupof embroidery,paints,canvasandeven parts ofhisown father's lndian fabrics.Although, not everyone seesthe "cheeky" sideto his work,heisproudof it.

"This series basbeen alabour of love forme," says Fernandes. "Hindu gods have the samefee.lings that weall have -love, lust,rage,despair, pain,joy -butthey often take them to the extreme. These images are away of exploringthat whole spectrum forme. They have become avital pareof my emotionallandscape."

'Krishna in Ersk.ineville'is the third incarnationof aseriesof Hindu godsin Sydney. In 'Durga',the powerful creation goddess sirs astride atiger,incandescent wjth rage against the iconic suburbia of Howard J\rkley.

'Ganesh', the merciful survivor, stands in the Australianbushwith a banksia,offeringagifr of sweet beesin place ofrl1etraditional laddoo. 'Krishna illErskineville', dieclllmination of this sacred and sacrilegioustrilogy, standsflirtatiously brandishiJ1ghis pipe, his body adorned with peacock colours echoed in the pride Aag flyingfrom the iconic Erskineville pub. Fernandes defends his controversial choice to depict Krishna smoking ice.

"Dtug consumption has aritual significancein many worldreligionsand communities," he says. "It can beharmful, burit's also part of who we are."

Modern Hindllism often finds itself in a struggle reconcilingtheold with the new.astraditional conservatism often finds itself at oddswitb ancient Hindll traditions,whichareindeedi:ife with mind-alteringsubstances,aswellasgender and sexual Auidiry Just thisweek, Hindus worldwide celebratedHoli,afestival which hashisrorically associated withuse of bbang,anarnralintoxicant made from marijuanaleaves and flowers.

Nevertheless,it is easy to underst,'rnd andrespect the scepticism,andoutright oppositionto,such ris9ueworks.Despite d1ecolourfulhistory evident in Hindutexts, thedeepinfluencesof conservativeJudeoChristian notio.nsleftover from colonialism reverberatedeepwithin modern Hinduism. As aresult, suchwoi:ksareboundto bring to the surface Llncomfortableconversations aboutfiercelyempowered,weapon-wielding Goddesses orGods\vho routinely practice gender fluidityand,of course, theroleof drugsand othermind-alteringsllbstancesin Hindu lore.

For local Hindu conmmnitiesgrappling with how to better engagedfasporic, rnillennialyouth, strugglingto reinvigorate the senseof childhood excitement from talesof heroes andvillains,gods and monsterslongsinceoutgrown, Fernandes' artworkought to beagreat talking point.Growingup in the information age,aboveall,ouryoungpeoplewant a better understandingof what it is they're participatingin,why and how it relates to d1eir experiencenot only as lndiansor Hindusbutalso asAustraliansparticipating in a Western society.Shiftingancient Hfodu conceptsinto a2017 Allstralian context provides afantasticplatform for the comrnw1ity co have discussions about those otherwise uncomfortablegreyareas of Hinduismwhich areavoidedin favour oftraditionalritual-based practice. Even if Fernandes'artworkis aplatform where the community is boundto disagree,it is inarguably engaging.