Journal of Creative Arts & Minds, Vol. 6, No. 2 - Fall/Winter 2020

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Fall 2020 – Vol. 6, No. 2 An Original Publication of Jumbo Arts International Red Springs, North Carolina, USA ISSN: Pending

Jumbo Arts International 2020

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Margie Labadie, President John Antoine Labadie, Senior Editor & Chief Graphic Designer Larry Arnold, Board Member

Electronic Links https://www.facebook.com/JournalofCreativeArtsandMinds http://www.jumboartsinternational.org jcam.jal@gmail.com

Jumbo Arts International Contact Information 217 South Edinborough St. Red Springs, North Carolina USA 28377-1233 01.910.734.3223 Editorial – John Antoine Labadie & Margie Labadie Design – The JCAM Team of Jumbo Arts International

The Journal of Creative Arts and Minds is a publication of Jumbo Arts International.

This electronic publication is free. The views and opinions expressed in this publication do not necessarily represent those of the publisher.

Fall 2020 – Vol. 6, No. 2 TABLE OF CONTENTS President’s Message – 8 Editor’s Message – 13 VISUAL ARTISTS Chhavi Sharma – 19 Cliff Ward – 35 Divya Chinni – 63 Oli Ghosh – 77 Pallavi Pandit – 94 Raghav Kaneria – 109 Sudatta Chowdhury – 127 Tami Bensen – 144 FINAL WORD – 158 INFORMATION FOR SUBMITTERS – 159

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President's Message 2020 has been a year to abide and persevere. We have learned to have the patience to endure our life situations while persisting through isolation and social distancing. Despite difficulties, we know that it is the fate of artists to push through painful times and to find the passion to create.

Artists have creative survival skills, like sketching and writing, that help keep ideas fresh and preserve them for the future.

Even while sitting still, artist’s minds are busily formulating and connecting the dots — and lines. Learning that small victories are as important as big ones, these times have caused many artists to find new ways of making art. And that is good.

This year has brought opportunities for change and growth in all of us. To maintain our sense of normalcy, or to keep working, we have remade our homes, redefined our priorities and formed new kinships. We have developed a heightened sense of awareness in our living spaces. And many of us have a new, enlightened sense of self.

As this year closes, we remember the tragic loss of friends and family. Some of our creative connections and networks have grown smaller. But together, we have grown in our ability to hold fast to each other in heart and mind. We have embraced our frontline heroes. We have dared to always put love before hate.

Here at Jumbo, we continue to reach out through these pages to support artists. It is our goal to share varied perspectives, because it helps us remember the good things we are all capable of. And while it seems everyone is ready for the year to end, maybe we can take a small, personal victory lap for making it to 2021.

We shall continue to abide and persevere to bring the JCAM to you — because art makes the world a better place! Read on!

Margie Labadie JCAM Publisher & President, Jumbo Arts International

Red Springs, North Carolina, USA jumboartsinternational@gmail.com

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Margie Labadie “Uncontainable Numbers” From the COVID-19: Unforgivable Numbers Series Digital Artwork / November 2020

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Margie Labadie “Irascible Numbers” From the COVID-19: Unforgivable Numbers Series Digital Artwork / November 2020

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Margie Labadie “Uncorrectable Numbers” From the COVID-19: Unforgivable Numbers Series Digital Artwork / November 2020

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About Margie Labadie's series COVID-19: Unforgivable Numbers The series COVID-19: Unforgivable Numbers consists of nineteen artworks made between October and December of 2020, using various data visualizations that appear on the COVID-19 Dashboards of all 50 United States.

Each piece contains wildly different imagery from one to the next, with the commonality of an alarming green background and an orange banner at the top. The repurposed data in each image is as confounding as each state’s COVID dashboard.

Each piece in this series is named for the astounding numbers of dead and sickened patients, and for the serious and dangerous place to which we have come by either ignoring or not having good numbers, or data.

The first piece is called Uncontainable Numbers, the next Uncontrollable Numbers, followed by Unimaginable Numbers, Undeniable Numbers, Unmanageable Numbers, Ungovernable Numbers, Unrestrainable Numbers, Unconstrainable Numbers, Unstoppable Numbers, Unbelievable Numbers, Incommensurable Numbers, Irascible Numbers, Irresponsible Numbers, Irrational Numbers, Incurable Numbers, Uncorrectable Numbers, Unacceptable Numbers, Inescapable Numbers, and finally Irrefutable Numbers.

Unlike the CDC Global Dashboard with its clearly defined tools, each State in the USA has its own COVID Dashboard developed in response to and while the pandemic continues. Many are filled with dizzying color combinations, randomly shaped data points, pie charts, bar graphs, sliding scales and confusing infographics. Some of these represent infections or hospitalizations by week or by month. Some states display data by city, others by county or region. Some dashboards group tests by positives, negatives, or recoveries. Some display deaths by gender, or by employment, or by demographic and some show political affiliation.

Some dashboards show testing sites with maps and flags. Some display numbers of hospital beds, ventilators or PPE. Some dashboards have WordClouds for seemingly no reason whatsoever.

It is this artist’s opinion that while the numbers are right in front of everyone to see, the haphazard display of information has no doubt aided those claiming that the pandemic is all exaggeration, fake, not contagious, or not dangerous. It is easy to glean what one wants from data sets on dashboards that are at best confusing and at worst, frightening. Without the ability to easily get good information in front of the public, without the ability to stop political interference in medical practice, the United States is experiencing a disconnect from reality that has literally killed hundreds of thousands of people, with no guaranteed end in sight.

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Fall/Winter 2020 A Message from the Senior Editor

Certainly every new issue of the JCAM is a learning experience. But working on this publication during the COVID-19 pandemic has brought us an unusually large number of new challenges and opportunities for understanding how to navigate these difficult times.

One of the foremost learnings has been how resilient and caring our submitters and supporters have been since we began our campaign of self-isolation almost exactly nine months ago.

We could not have asked for a more positive experience in our electronic interactions with these folks, especially considering the difficult and stressful conditions under which we are all living in 2020.

Another aspect of our successful work on this Fall/Winter 2020 issue of the JCAM needs to be mentioned here; the tremendous value, power, and flexibility of the digital tools that have allowed us to work effectively with willing collaborators across the globe. This year we have used an unusually wide array of apps, devices, networks, and cloud storage accounts to interact with individual submitters while using the digital tools that worked most effectively for them. And, in the end, we have put together another outstanding issue of the JCAM under some very difficult circumstances.

Last, we want to reach out to our readers for help in contacting artists, writers, and other creatives who might benefit from an article about their work published in the JCAM. Once we have contact information we will reach out with information about our editorial process. We can almost always work out some way to communicate effectively.

Be well and keep in touch. Have a happy and healthy 2021!

John Antoine Labadie

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John Antoine Labadie / “Solid Geometry Series” / Tradigital image / 2020

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John Antoine Labadie / “Solid Geometry Series” / Tradigital image / 2020

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The Solid Geometry series: A brief explanation During undergraduate work (more than 40 years ago) I trained first as a sculptor, and then as a painter. I graduated with a degree in painting. When other opportunities became available my creative work expanded into photography, graphic design, and scientific illustration – then computing. Even so, except for my initial work in sculpture, almost all works produced were in flat, two-dimensional forms that required only the considerations of the length and width of the product.

For the past 25 years I have worked almost exclusively with digital tools in various 2D formats where a primary consideration for each work was length and width of each piece. Until the past 2 years or so, only a very few of these works have been 3D forms.

The Solid Geometry series delves into 3D space and encompasses more than 450 total works to date. Each image in this series is unique. All works were accomplished between June 2018 and December 2020.

My primary visual influence in developing these works is the French Surrealist artist Yves Tanguy whose mysterious paintings I have admired for many years. I know that there is much more to be discovered in working with these types of image forms. My investigations continue.

At the most basic level of description, the nature of these works can be defined as having three goals: 1. the creation of original drawings and/or the identification or development of data sets of interest; 2. the development of aesthetic visuals directly related to these resources; 3. The exhibition of my original works in professional venues nationally and internationally.

In the past two years, selected works in this series have become part of exhibitions in various locations nationally and internationally: India, South Korea, England, Spain, Venezuela, Australia, and China. These works have been displayed as pigment on paper, prints on canvas, metal prints, projections, monitor-based works, and in Internet galleries. .

John Antoine Labadie “Solid Geometry Series” Tradigital image / 2020

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Chhavi Sharma JCAM: What is your professional name? Where were you born and does that place still influence you?

Where do you live now and how does that place influence you? Do you have family, friends, or fellow artists who support you in your work, life and art making and how do they make a difference in your life?

CS: My professional name is Chhavi Sharma. I was born on 27th April, 1993 in Jaipur, Rajasthan, India. Yes this place still influences me, in fact Jaipur played a pivotal role in developing the inclination in me to be an artist. I still live in Jaipur and it is a mystic historical place that binds you with its grandeur.

My family of four is the supporting pillar for me and because of them I have been able to face the hurdles with my full strength. My family never made me believe that I am physically challenged, rather they transformed it to be my biggest strength. The support I have gotten from my family and friends have made me a different person who always sees the world with a positive attitude and a smile on my face.

JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do? Why do you make art now? How has your work changed or developed over time? What are you trying to communicate with your art?

CS: In the beginning I did not know whether I possessed the qualities to be an artist.

But when I saw my sister painting her own world with her own mind, I was a bit surprised how she did it. That very moment was the time when I thought about making art.

Gradually I started taking part in the process and started learning the minutest details of art making. In fact the feeling of making art was so paramount in me that despite completing my schooling with Commerce as my Major subject, I shifted my complete focus to art.

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Through art I realize I can communicate with the world without being vocal. Making art is not monetary for me but it has become an integral part of my life and I don’t exist outside of it. I try to blend realistic art with cubism to make my art more unique.

Over the years, my art has transformed a lot, during my college days I used to do copy work but then I studied numerous World famous artists and whatever little I learnt from them gave me the direction to create my own patterns.

For me to present the feelings and expression of a person is the most interesting subject. I create art to depict the alarming environmental problems we humans are facing and I think we should save all the elements of Mother Earth for our future.

JCAM: Do you have any creative patterns, routines or rituals associated with your art making? What element(s) of art making do you enjoy the most and why? What is your most important artist tool(s) and why? How do you know when a work is finished? What are the art making tools you use now? What new creative medium would you love to pursue?

CS: When it comes to art making I follow the basic routine and start with sketching my imagination on paper and once I think it is worth it, I then paint it on canvas or paper.

I emphasize facial expressions more and like to integrate different human moods in my paintings and I enjoy this way of working the most.

My art work is influenced by certain European painters of the Baroque period, but also some painters from India as well.

As far as my favorite tools are considered, I like to create my art work with knife, brush, pencil, pen and charcoal.

I feel the work is finished when my imagination doesn’t allow me to make further changes.

Nowadays I prefer brush and pastel colors because pastels are gratifying in lots of ways and I love the splendid luminosity I can get with them.

My future plans include trying and mastering the art of sculpture and installation to accomplish my thoughts.

JCAM: What's the first artwork you ever sold? Do you make a living from your art?

What strategies with you share with other artists on how to become successful professionally?

CS: The first artwork I sold was a painting of landscape and then a woodcut in the same exhibition. For an artist, money doesn’t matter much, but it sure is a great motivator.

Personally I think art and money should not co-exist but then looking from humanitarian

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perspective artists do need money to survive. I may sound unorthodox but money is not everything for artists. But is surely a way to keep making art work and inspiring many young minds.

I think to be a successful artist you should not expect much from people initially because expecting more generally leads to unwanted pressure which hampers the art work. I believe an artist should move like a sea current, calm and always moving. An artist should make sure their original art is not suppressed in making the art for living.

JCAM: What are your goals for the future, for both work and life? What interesting project are you working on at the moment?

CS: Honestly I want to be as successful as any other artist would want. My goal for the future is to get a chance to show my talent and art in the most renowned art galleries around the world. I want to create my own separate identity and want people to know me by my name.

At present I am working on a series of projects with the artistic style of Cubism blended with different emotions of humanity.

JCAM: What or who inspires you? Do you have a favorite – or influential – living artist?

What work of art do you wish you owned and why?

CS: During my graduation and post graduation studies, I was heavily influenced by historical European artists like Leonardo da Vinci, Pablo Picasso, and Salvador Dali.

Indian artists such as Satish Gujral and Sayed Haider Raza also inspire me and give me the energy to work in my own unique style.

Besides painting, I wish to be a sculptor one day and I feel I will accomplish my dream very soon. The reason why I feel inclined toward sculpture and installation is that it is also a great form of art which lets you express your inner feelings without being vocal.

JCAM: Where do you find ideas for your creative work? What does “being creative” mean to you? What is the best advice you ever had about how to be more creative?

CS: I feel the world around me is the biggest inspiration to be creative. The world that I see, perceive and imagine has an enormous amount of things and characteristics which bring out the creative side of me. “Being creative” for me means you have to come out of your shell and be what you really are.

Following someone else will not make you creative, rather it makes you a follower.

Creativity is being you and not following someone else’s footsteps.

In my small career as a budding artist many people have praised my work and have advised me to be what I am and not someone else. I think this is the best piece of advice I received to date and I am following it wholeheartedly.

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Chhavi Sharma “Confidence” / Painting

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Chhavi Sharma “Dreaming” / Painting

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Chhavi Sharma “Save Nature” / Painting

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Chhavi Sharma “Untitled” / Painting

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Chhavi Sharma “Rhythm 4” / Painting

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Chhavi Sharma “Cool” / Painting

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Chhavi Sharma “Roots of Life” / Painting

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Chhavi Sharma “Rhythm 2” / Painting

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Chhavi Sharma “Rhythm 1” / Painting

Chhavi Sharma “Rhythm 3” / Painting

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Chhavi Sharma “Peace Bird” / Painting

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Chhavi Sharma “Happiness” / Painting

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Chhavi Sharma “Our Dreams” / Painting

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Clifford Ward My name is Clifford Ward and I was born in Jersey City, New Jersey. I now reside in Philadelphia, Pennsylvania, USA. Having been born and raised in Jersey City will always be a vital root to my being and my life. I attended elementary school and high school in Jersey City. My alma mater is Rider University in Lawrenceville, New Jersey. Jersey City was the basic denominator to my development.

These basics of my life were nurtured by family, friends and village. Not only was I schooled in my family’s culture, but also the culture of this small city.

Although Jersey City is logistically across the Hudson River from New York, it remains to have its own culture; however, much of that culture has been influenced by New York City, NY. I grew up in a very poor household, Marion Gardens, a public housing project, and lived there through high school. Marion Gardens was surrounded by a predominately Italian neighborhood; and as a child this was my first lesson in racism. These people seemed to hate us and so did the other bordering neighborhoods. And when passing through their neighborhoods on our way to school, we were not welcome to use “their” streets.

Their bars were “off-limits” to all of the Blacks, but the antithesis was the sense of community and village.

We were kids, but this didn’t seem to matter, but it cultivated a future with an occasional haunting that remains in my mental storage. But it was the best teaching tool to prepare me for my future. As an African-American, racism reared its head in many forms; some of which I didn’t understand as a child. But although there was this intense negative environment, most of my life in Jersey City was filled with family, love, art, community and the pride we learned as people.

Living in this neighborhood influenced my art (unknowingly at the time). I could now identify the situations as a child that have become a part of my art today. My values, empathy for others, and morality were shaped in this small town and I am thankful for

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that today. Excelling in art in day camps and other outside programs, I always had an interest and always joined. My schools were racially mixed and although there were several incidents in high school involving race, it was one of the great experiences I endured as a young black male. All of these components comprise who I am today as a man and an artist!

I now live in Philadelphia and have resided there since 1985. I adore this city! It’s a big city that can have a small-town flavor. It is here that my artistic ability emerged. It was here that I realized my artistic abilities and decided to pursue art as a career. I had found my passion, after a dismal time in corporate America.

Museums and galleries were especially important to my growth. The abundance of art in the city was wonderfully overwhelming and it still is today. Visiting the Philadelphia Museum of Art, the African American Museum of Philadelphia, the Rodin Museum and others, helped me to meet and work with various artists in a plethora of programs. Being the number one city for mural art, it is literally ubiquitous. I marvel and become absorbed with much of the wonderful work from artists from around the world.

This was exceedingly important to me. It was here that I realized I was in a special place; all of which played an important role for my art career. Visiting the Rodin Museum when I needed to learn more techniques in sculpting hands and feet was invaluable.

Visiting the African American Museum of Philadelphia, I learned so much about the African Diaspora, particularly when it related to art. I was enlightened and made aware of Black artists from around the world. I admire, respect and appreciate all that I have learned from these institutions.

Fleisher’s Art Memorial (an iconic free art institution in Philly), was very instrumental in the early days of my exploration. It was here that I learned various techniques and was exposed to various media. Although I know art is an innate ability, I know that it was in Philadelphia that I came to the realization and understanding of my role in this world as an artist. Philadelphia brought my passion to fruition.

It was here that I was supported and “represented” by two galleries. Philadelphia placed me on a long, but unbelievable and gratifying journey on the road to becoming the artist that I am. It was in Philadelphia that I was exposed to wonderful artists; many from whom I learned an enormous amount of information about art and the art world. Close relationships were embraced and my new art roots have a foundation that was primarily built here. Philadelphia will always be special to me and an integral part of my art since it was here that the self-realization as an artist began and this became the manifestation of my desire as an artist.

Someone once said that no one succeeds alone. I am the epitome of that very statement. Although I feel that I still have a long journey, there were/are many people who supported me (some literally). First and foremost is my mother. When I really was struggling, she would send money from her fixed income to allow me to eat, buy supplies and transportation. She would attend all of my shows and exhibitions and

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always reassured me of a successful journey if I continued to pursue it. I could still “hear” her saying before she passed that I will definitely be successful someday. Always in my corner, she showed how proud she was of me. So of all of the people who supported me, I must say that my mom was unrelenting both mentally, physically and financially. This was my backbone to a life that would bring my dreams to fruition.

Unfortunately, my father passed at age 60 and never witnessed my art career.

Being raised the youngest of seven, I also had support from my siblings. They also financially helped support me whenever I asked. I have a sister who worked in many crafts and would always introduce me to various art supplies and methods. She would buy paints, brushes and would be a discerning person who would critique my work. On many occasions it strengthened my work. My other siblings were present for me as well.

They supported my decisions and helped whenever asked. Encouragement was always at the core from them, along with their empathy for my life as an artist.

There are many friends who have helped to shape and mold me as an artist. I have been given advice about materials, galleries, museums, projects, techniques and especially encouragement. Support was ubiquitous!

Throughout my life I have intuitively known that I have a strong creative dimension to my being, but never searched to develop and/or nurture it and discover how it would materialize. However, I never thought it would manifest itself into what my life and my passion has become.

For many years I had worked in corporate America in the publishing industry. I had a territory which consisted of traveling throughout northeast Pennsylvania and New Jersey. I had always felt such a disconnect but did not know what direction my life should take.The stress, the formalities, the excessive travel, the corporate culture were not for me. Subsequently, I decided to quit this occupation, thus hoping that something would allow me to take ownership of my life. Although I struggled for my “new” life, it was worth it. It was at that point that led me to my art realization. I have always had the tendency to create at various times, but thought nothing of it.

One night I decided to make something and it was appreciated by people who visited me. I decided to continue making work based on this first piece. This first piece consisted of taking a long balloon and wrapping it around a cranberry juice jar. Then I used paper mache and painted it. I discovered my art when I thought I was at the “lowest point” in my life. With all of this positive feedback for that piece, I confidently applied to an annual, five-day outdoor art show in Philadelphia. It was a juried show and I was accepted providing I make work of a non-utilitarian type, since all of my work shown to the jury were vessels, vases and bowls. When accepted, I knew at that point, I knew I had found my calling and would make the sacrifices necessary to follow this path that felt so right for me. I never looked back! At this point my body and soul needed this creativity; just like my body needs water.

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I now make art because I have no choice. It is my life source and force. After so many years in the corporate world, I found that my art had been incubating and was finally beginning. Now I can’t keep up with the ideas and creations that continue to flourish.

Initially my work was very “raw” and full of spirituality and mystique. My work has been refined and the individual elements have intensified, but the common denominator of my work draws a direct line from my first piece to my present work. Painted improvisational designs are the common denominator of almost all of my work.

I have always had an affinity for the mystique, mythology, folklore, alchemy, geometry and science fiction. Most of my work has almost systematically seemed to have morphed into a “new” genre called Afrofuturism. This realization was totally unintentional on my part.

As this work evolved, my artistic interests took another direction toward metal casting. I learned the techniques as an apprentice at the Johnson Atelier Technical Institute of Sculpture, at Grounds for Sculpture in Hamilton, New Jersey. After two years, I became part of the technical teaching staff in metal chasing.

The exposure to casting and metal chasing, added another dimension to my work.

Much of my earlier work was cast in bronze, aluminum and iron. Most of my early work consisted of dancers which were created to seemingly defy gravity and have great movement. The casts were taken from earlier work made of plaster bandage which is my main medium. Although I seldom make dancers now, I have always been cognizant of movement. The scale of my work has grown immensely. Presently my biggest pieces average approximately seven feet tall.

I am not sure if I am trying to communicate anything with my art except beautiful designs, geometry, shapes and negative spaces. I love combining symbols and motifs from other cultures into my work, which offers a potpourri of beauty and creativity. I want to communicate beauty and fine craftsmanship. I want to make “candy” for the eyes!

My new installation work involves unity, togetherness, and the cultivation of various forms and shapes from many indigenous cultures. It is also important that the negative space has its own aesthetic, but complements the main work.

When looking at my previous work from years ago, my main subject was dancers. There were also bowls, vessels and other projects based on the combination of these forms.

What I realized with my love of painting was that my improvisational designs were the real common denominator of my work. The finish on my work, either patina or paint, is influenced by African mud cloth. Mud cloth is worn by hunters as ritual protection and as a badge of courage in some West African cultures, particularly Mali and Nigeria. The color scheme of black, tan, white and brown or any combination of these elements, appear in most of my work.

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I usually begin my work often influenced by a very scaled down version of what I see and the areas where I want to place my designs. I then let the work speak and guide me towards the direction; thus stimulating my creativity. But I “listen” to my work.

I really enjoy the finishing process for my work for several reasons. I feel I can now “play” after what can be a very laborious process, however enjoyable. I get to play with design and multiple visual painted forms. My freedom is at its strongest when finishing my work. It also gives me a sense of success. It is then that I realize my connection with the animus of the work and my desire to create something new.

There are many contemporary artists I like, but my primary inner connection is to Ancient West African Art. When studying African art, I feel the sense of strength and animism. When realizing that their art was not for monetary value, but rather for spirituality, good harvest, life, love and freedom of expression; when I look at this art and relish what is being done abstractly, I am filled with a sense of pride and amazement. I remember the first time I looked in a book of African art and again was amazed at various treatments of human anatomy, for instance, looking at the nose.

There were as many abstractions of the nose as there were pages. It can be “raw” or very “refined.”

I know when my work is finished by exhausting all of my energy and creativity to a point where I am satisfied and elated to have a sense of completion, joy and pride in the finished “product.” I also know when I am finished when the piece tells me there is nothing else I need to do. Art can be overworked so I am also cognizant when it’s time to stop; but sometimes it can be difficult to let it go. I try to embrace “less is more” seriously. But I know that when I am fulfilled visually, spiritually and aesthetically, it is time to stop.

I work with a plethora of tools. I use saws, hammers, screwdrivers, drills, X-Acto knives, wood, styrofoam, etc. Depending on what the goal of a section or form is needed, the respective tools for that piece are used. But the above-mentioned tools are essential to my work.

Although I can’t really say that casting is an art form that is new to me, I would like to cast again, but in other materials, such as: resin, glass, and more iron. Having been a metal chaser at the Johnson Atelier, I enjoy the casting process and the unique experience every time; so I consider each time to be new. My primary metal media are bronze, aluminum and iron. It has been a number of years since I have worked in metal, but I would certainly like to explore some of these other materials.

Music, preferably Jazz, is essential to my work!

The first artwork that I sold was a large vessel-like piece. It was made of paper mache, shaped from a large round balloon; then painted with acrylic paint, with improvisational designs, similar to my present work.

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Fortunately, I am able to make a living with my art in several ways: Selling my original work, and working with one art student who is very talented. He has Down’s Syndrome and Autism. We have a symbiotic relationship. Our art is influenced by each other’s work. I sell original work on various items, such as: t-shirts (called, Ar-Ts), Small cards (called Sm’arts), masks and bags; all of which contain original art. So, although I am not exclusively selling my art, I continue making other items that feature my work, but also have a utilitarian, practical use. Needless to say, I have additional sources of income, all of which are still within the art world. Also, by working with my one art student, I receive the ever-important health insurance and a sustainable salary.

If I was to give strategies to other artists on how to become successful, I would tell them to be themselves. Bring something to the table that’s fresh and an expression of your individuality so that your work is recognized as being yours anywhere in the world. I would tell them to exhibit their work in shows whenever possible (within reason). Street venues, galleries, private home shows, demonstrative workshops involving your technique, discussion panels, etc., all become part of your accomplishments.

I would also advise them to make art to please themselves and for others to enjoy.

Apply for grants, residencies and occasionally step out of your comfort zones. You might be surprised with the results. Visit galleries and museums; study other cultures and be open to new ideas. Follow your art and its natural progression. Most of all I would tell them that “no one can be you, better than you can be you! Exposure and hunger (literally and figuratively) is the key!

Although I have worked on many projects, my main goal now is to exhibit my installation, “Animism.” This body of work consists of twelve pairs or twenty-four figurative sculptures; each one is between 6 and 9 feet tall. Presently, I have sixteen completed.

Each pair of figures is more like each other than the rest of the group; however, the overall twelve pairs are noticeably connected to each other collectively. They all consist of my signature improvisational painting and mud cloth-like designs which are indicative of the paint and patina that I use in most of my work. The main medium is plaster bandage. Plaster bandage, incidentally, is what I have used as my main medium for the entirety of my art career.

This work was first inspired by the Terra Cotta Warriors of Xi’an, China. Being so enamored by this wonder, I decided to create an intense installation that feels as if there’s a life force that affects anyone who stands among them. There’s a story with this installation. There are figures, such as: The Anthropomorphics, The Generals, The Mathematicians, The Jazzers, The Winged Messengers, The Druids, The Androgynopolis Aliens, and The Architects.

My goal is to show this group very soon in their entirety. I would like to bring this group of work as close to life as one can bring an inanimate object; always reaching for that spirituality.

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As far as where I see my life going, I plan to capture and share all of the ideas stored in my soul. I would like to live where I work, as opposed to traveling a distance to get to my studio. I plan to continue working with other artists and also to share and show my work through other major institutions, thus giving lectures and presentations about my work. And of course, teaching is always part of the equation.

My philosophy for my work is that it belongs to anyone who has their own story for the work. I am sure their stories are just as valid as my own. In fact, I have had strangers create the titles for some of my work.

Another goal of mine is to be in the art books. I want to bring something new to the table and add something valuable to the art world, both academically and aesthetically.

First and foremost my main inspiration comes from my family and my culture. Several people and places have also served as an inspiring force. Just recently, I have some friends who worked with a group of senior citizens in an artist colony in New York that was converted from an old public housing building to a seasoned art colony for senior artists. The group is called West Beth, and had a profound effect on me. Seeing these artists who are continuing their art well into their late 70s and 80s was quite fascinating to me. This is a very unique group, many of whom had notable careers in painting, drawing, poetry, music, and dance, and who still have as much zest for their life and their art as one can imagine.

When listening to the stories of these artists, my hope for the future as an artist has been awakened even more so by them in a very short time. To continue to have the passion for growth and more creativity at these later stages of life, was something that gave me hope for the arts and my art in particular (provided I live as long).

Some of my favorite living artists are Martin Puryear, Kara Walker, Kiki Smith and Joyce J. Scott. It’s a rather arduous task to express the impact some of the artists who attended the Johnson Atelier Technical Institute of Sculpture, who are for the most part unknown, had on me. The artists who have been most influential to me, but are unfortunately deceased, are Elizabeth Catlett, Auguste Rodin, Romare Bearden and Ernie Barnes.

Although I love these other artists, I have an affinity and love for much of the art created in the countries of West African antiquity. Also, I am fascinated with the ancient art from Kemet (Egypt) and other indigenous groups from Africa; particularly Nigeria, Benin, Mali and Ghana. Indigenous cultures such as Native Americans, the Maori of New Zealand, and the Indigenous people of Australia are profoundly relevant to my interest and my work.

Religions of Voodoo and Santeria play a strong role in my earlier work. This was pointed out to me by people familiar with and who practiced these “taboo� religions. I was creating work with visual representations that I was not familiar with at the time. I have

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since researched and connected with several people that practice “the old ways!” Even so, there were many strangers who alerted me to the meaning of the work I was producing, much of which I had no intention of making for the reason they saw.

Mysticism, mythology, alchemy, fantasy, folklore and science fiction are all inspirational and of extreme importance to my work and me.

I would love to own some of the ancient bronze sculptures from Nigeria/Benin. I am proficient in metal casting and chasing, and when I see these ancient castings made without the use of modern methods and tools of today, but that reached a level of technical and aesthetic work beyond our current understanding, I oftentimes marvel at the result. Personally, and in my opinion, I think their techniques, subject matter and aesthetics are truly incomparable.

Clifford Ward with some of his “Animism!” figures.

Embracing the mythologies, cultures and pathos of the African Diaspora, Australian Aboriginal peoples, Native Americans and the Māori Indigenous Polynesian people of mainland New Zealand, my work has evolved into a “potpourri” of many of these Indigenous peoples’ cultures as presented in the images included in this article.

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My sculptures either remain in their mixed media form (steel, newspaper, plaster bandages, cowrie shells, acrylic paint or amber shellac with brown wax) or they are cast in bronze, iron or aluminum. The main material in the mixed media art is plaster bandage.

Other work consists of figures which are modeled in clay and cast in one of the aforementioned metals. These, like most of my work, explore my love of geometry, cubism, mythology, anthropomorphism, textures and Egyptian/Nubian art and symbols.

My 2D and 3D work also incorporates an improvisational style of painting and symbols, evident on the mixed media sculptures using acrylic paint. On the metal pieces, a pneumatic air scribe is used to etch some of these designs into the metal. This style of painting is done to give a visually textured effect and to simulate the look and colors of African Mudcloth.

Ideas for my work stem from a plethora of observations. I am fascinated by forms and shapes of which I remain particularly cognizant of each day. My love of geometry and masks (particularly from West Africa) are extremely instrumental in forming many of the ideas for my work. Since I enjoy science-fiction and futurism, many of my ideas are stimulated by that relatively “new” genre, ‘Afrofuturism.’ Over the years this term has become more recognized. This genre has been defined by musician/performer, Sun Ra. Afrofuturists are found in many areas of art, music and literature. Although today the term has become more popular, the artistic ramifications can be seen in performers like, Sun Ra; Earth, Wind & Fire; Octavia Butler and others. The main recognition for Afrofuturism can be found in the box office smash hit, “Black Panther” which is the epitome of Afrofuturism.

Afrofuturism in my work is manifested in the areas of dance, masks, figures, vessels, abstract sculpture, paintings, and reliefs. It is particularly exemplified in most of my work, but it is more evident in The twenty-four figures that comprise my main project,“Animism!”

Being creative to me means “being me!” Being free artistically! Having the integrity and trust in my own mind and creating work proven to be an extension of me. By staying true to myself, I have the freedom to create from my heart and soul without having boundaries placed upon me by others. Again, no one can be you, better than you can be you! The best advice I received about how to be more creative, is to use your body and mind like a vessel and absorb as much as you can, but remember to be true to yourself and your art.

Contact information: cliffordward614@gmail.com Website: www.cliffward.net

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Clifford Ward Working in his studio at Grounds for Sculpture.

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Clifford Ward “Indigene” / Acrylic on Canvas

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Clifford Ward

“Freaky Deaky” (Detail) / Cast & Fabricated Bronze

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Clifford Ward

“Freaky Deaky” / Cast & Fabricated Bronze

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Clifford Ward “Growth” / Paint and Stain over Plaster Gauze

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Clifford Ward “Ode to George” / Mixed Media

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Clifford Ward “Beauty of Scarification” / Mixed Media

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Clifford Ward Gallery installation of the artist’s works

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Clifford Ward Gallery installation of the artist’s works

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Clifford Ward Gallery installation of the artist’s works

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Clifford Ward “Animism” figures / Mixed Media

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Clifford Ward “Animism” figures / Mixed Media

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Clifford Ward “Animism” figures / Mixed Media

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Clifford Ward “Animism” figures / Mixed Media

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Clifford Ward “Animism” figures – detail / Mixed Media

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Clifford Ward at work on the mixed media sculpture (straw, dirt, clay, & cement) "Harriett Tubman: And Other Truths� at Grounds for Sculpture in Hamilton, New Jersey.

The artwork is the concept of MacArthur Fellow Recipient Joyce J. Scott who had a major exhibition at the facility in 2018.

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"Harriett Tubman: And Other Truths� on display at the Grounds for Sculpture in Hamilton, New Jersey. The 15 feet high artwork is the concept of Joyce J. Scott and was carried out by Grounds for Sculpture artist Clifford Ward.

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Clifford Ward “The Souls” / Mixed Media

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Divya Chinni JCAM: What is your professional name?

DC: Divya Chinni is my name.

JCAM: Where were you born?

DC: I was born in Visakhapatnam, Andhra Pradesh, India.

JCAM: Where do you live now and how does that place influence you?

DC: Today I still live in Visakhapatnam. I have always been influenced by my surroundings, the objects we use and the lives and everyday experiences from the places I visit.

JCAM: Do you have any creative patterns, routines or rituals associated with your art making?

DC: I do not follow any routines or rituals for my creative process. Whenever I feel the creative drive and the need to work, I work. There is no specific time but mostly in the evening or night time is when I do my creative work. That is very peaceful time for me as an artist.

JCAM: What element(s) of art making do you enjoy the most and why?

DC: I enjoy the whole process of making art which includes taking visual notes through rough sketches and photographs and experiments with compositions and then adding lots of external elements to create a coherent composition with a strong aesthetic appeal.

JCAM: How do you know when a work is finished?

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DC: At the stage when I feel my visual art work is what I wanted to see or represent, then I would consider it as a completed piece.

JCAM: What are the art making tools you use now?

DC: Now I am working with acrylic paints.

JCAM: What's the first artwork you ever sold?

DC: The first artwork I have sold was a 48” x 36” inch painting of a sewing machine which I did in my bachelors final year. At that time I studied with a person from France who visited my art college. This was the moment that, for the first time, I received such appreciation and encouragement for my work. It literally boosted my confidence and encouraged me to do even more creative work.

JCAM: Do you make a living from your art?

DC: For a number of reasons it is difficult to survive as a full time practicing artist. But, even so, yes, I am able to make a living through my art.

JCAM: What strategies could you share with other artists on how to become successful professionally?

DC: I am following my dream; my passion for art. I just never give up on my dream of being an artist. I believe when we follow our passion and work hard and smart, certainly everything can come our way.

JCAM: What or who inspires you? Do you have a favorite – or influential – living artist?

DC: My favorite Indian artist is Amrita Sher-Gil. My favorite historical Western artist is Vincent van Gogh. I also like the creative works of many other artists and am always motivated by senior artists in other cultures.

JCAM: Where do you find ideas for your creative work?

DC: I always take ideas from my surroundings and the place I live and from my everyday experiences.

JCAM: What else would you like to share about your personal history, your future as an artist, and the things you hope to do in your creative life?

DC: Art to me is a visual language. Words cannot explain our thoughts and emotions. It is an artist’s responsibility to react to everything and create awareness among people and bring the beauty out that lies everywhere.

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In my opinion, one’s art and one’s life are not separate. Every part of life art is involved in some or other way. Without art in the world we are nothing and the whole world becomes zero. The universe itself is the creation of god as we believe in our tradition.

Art gives me an immense joy and the whole process of creating art is a therapy that heals my soul and gives calmness to my mind.

Since childhood I used to doodle on walls and papers and even in examination hall after completion of exam. Even in my masters I used to doodle on question papers. I used to actively participate in all art activities including drawing on boards and decorations in classrooms. I used to draw a lot of science diagrams in my lab manuals and make drawings and paintings in art class. Everyone would appreciate my art and encouraged me to do more.

My art teacher told me once about a painting of an apple that was so realistic and detailed and how people enjoying it and appreciated it. As a child those words were very inspiring to me to move further towards art. I used to participate in art competitions locally and visit art exhibitions in my city. I was inspired by seeing all other artists’ works and have collected many paintings from newspapers and pasted them into a book. I used to observe every painting in that book regularly and try to copy the same. It was at the time when there was no access to mobile phones or the Internet.

After my intermediate schooling I joined in fine arts in Andhra University where I received my bachelors degree in 2013. Since then my real journey in the art world started. There I have learnt many techniques and materials and gained knowledge about art. My interest in painting and drawing objects has developed further through academic still life drawings. Since then objects became the main subjects in my work.

We are connected to each and every object around us in a way that have stories and emotions. I love bringing to canvas these mundane objects that no one would otherwise bother with.

When painted, people appreciate, connect to them and enjoy. My childhood dream of being a teacher came true when I taught art and craft in a school for two years after completing my bachelors in fine arts. During this time I realized that I wanted to learn more about art and become a full time practicing artist. I earned a masters degree in art in 2018 from the same university.

Earlier in my life people used to tell me to get a job. They were worried about how I would survive with art. But now they all are appreciating my art and feeling proud for the same after seeing me exhibiting in India and abroad and getting appreciation from people.

I have seen many artists leaving their practice and settling with a daily job for financial security. In today’s fast paced world, social media is playing a major role in everyone’s life. The best thing about social media is that it helps me to connect to other artists and to learn and explore and creating many opportunities. I believe opportunities will not just come into our way; we must create them ourselves by our thoughts and actions.

My works are inspired by various things including heritage buildings and everyday life. I consider my work as a visual documentation of our cultural heritage. As an artist I do

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not expect much in my life. I just need food and shelter to live, and canvas and paints to paint during my whole lifetime. My dream is to travel the world and learn about the culture everywhere and paint the stories of lives on my canvas. To me success is actively participating in exhibitions and all art related activities. Success is when people connect to my art and enjoy it as much as I do when I create it.

Divya Chinni “Untitled� / Acrylic Painting

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Divya Chinni “Reflections of Traditions” / Acrylic Painting

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Divya Chinni “Hot Couple” / Acrylic Painting

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Divya Chinni “Outdated …?” / Acrylic Painting

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Divya Chinni “Reflections of Traditions” / Acrylic Painting

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Divya Chinni “Still Life” / Acrylic Painting

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Divya Chinni “Untitled” / Acrylic Painting

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Divya Chinni “Reflections of Traditions” / Acrylic Painting

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Divya Chinni “Reflections of Traditions” / Acrylic Painting

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Divya Chinni “Reflections of Traditions” / Acrylic Painting

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Oli Ghosh JCAM: What is your professional name?

OG: My name is Oli Ghosh.

JCAM: Where were you born and does that place still influence you?

OG: I was born in Kolkata, West Bengal, India. Subconsciously this place still influences me with its culture, education, nostalgia, etc.

JCAM: Where do you live now and how does that place influence you?

OG: I have lived in Mumbai (Bombay) since 2001. Mumbai is a city known as a commercial capital in India, also a cultural hub too.

I have chosen this city for my bread and butter as this city was nearest to my university where I finished my post-graduation in Fine Arts. My specialization was Graphics (Printmaking) and I was confident that I could do something in the field of art in this city. Thus the reason I have started my career in this city.

From my experience, this city is cosmopolitan, multilingual, multicultural but it has certain special aspects that no other city in India offers. Everybody is working hard and the work culture is very good. Everyone living in this city is chasing their dreams. Never sleeping, this city is also famous for its Bollywood Hindi Movie industry. Thousands of people come from different places and live here to chase their dreams. Different cultures from the different places of India, as well as different parts of the world, mingle in the local culture.

This all makes for a unique creative atmosphere. Here I have found a bigger platform for practicing my art.

For me, art is an expressive language. Thus it is very simple. I see life, react, and express my experiences through my art. I live in Mumbai and chase my dream through my multimedia art. Now I am used to this city and love to work with everyone but not in isolation.

Perhaps because I am comfortable with multimedia I am engaged with many different professional skills. These different kinds of professionals are available in this city quite easily. I find myself being pulled into their dreams and try to explore these possibilities.

My art is a process that evolves in this kind of collaborative way.

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Mumbai is the city where I found my happiness. It made me cry when there was a crisis; feel emotion when I had the privilege of seeing the life of others so closely; and be proud that I could participate in the everyday life of this city. All these things have become part of my work and I am comfortable in this style of artistic practice.

JCAM: Do you have family, friends, or fellow artists who support you in your work, life and art-making and how do they make a difference in your life?

OG: My best friend - my husband - is an artist and he supports me constantly. Without his moral support, I would not be able to continue my artwork. I get full support from him to explore in a different medium for executing my artwork, because choosing the right medium for particular work is very important for me. Since he is my husband too, we share each and every moment of our life too.

Since we are from the same field (Printmaking), we understand our problems in art and life. We do not depend on any gallery or art market. Our source of living is completely different. That is why our artwork is not influenced by any gallery or art market.

JCAM: When and how did you start making art?

OG: I think art is a medium in which I have been able to express myself comfortably since my early childhood. I used to spend maximum time in my art. Mostly from grade 3 onward, I was consciously making artwork. In grade 4, I had written an essay on my future plans. There I mentioned for first time that I would like to be an artist, at a time when I was not aware of the vastness of this profession.

JCAM: Can you describe the time when you first realized that creating was something you absolutely had to do?

OG: I was very much influenced by one of my cousin's paintings (though he was not a professional painter) in my early childhood. Later on, during my secondary school life, I was involved in decoration and art for different occasions. I was very fascinated by it and people used to admire my work. From that time onward, I determined and became confident that ART would be my career as a first option.

JCAM: Why do you make art now?

OG: This is the ecstasy - freedom of expression. I can not think in another way to express myself better than Art. JCAM: How has your work changed or developed over time?

OG: Initially, I had started with drawing, painting, and craft-oriented work. Later on during my graduation I worked in fine arts and I was exposed to different media. Back then, graphics or printmaking was the important medium which changed my art practice.

Since printmaking has some limitations and possibilities too, it forced me to see things in some different ways. I started experimentation in the medium and in my visuals from that time onwards.

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Because of my experimental nature, during my Masters I felt that printmaking was not enough for me. From that urge, I explored and learned digital art and dared to exhibit digital prints - digital was a very new medium in India. At that time it was not included in the printmaking syllabus. Thereafter, in my professional life, I found changes in my work.

The works become more interactive and multi-dimensional. Now I have more freedom to use a variety of materials and media for my works, which gives immense pleasure to me.

JCAM: What are you trying to communicate with your art?

OG: I am trying to communicate the way I am seeing in my life and surroundings.

JCAM: Do you have any creative patterns, routines or rituals associated with your artmaking?

OG: I do not believe in any particular patterns, routines or rituals. For me, art is a simple and spontaneous medium of expression.

JCAM: What element(s) of art making do you enjoy the most and why?

OG: Creating the forms, which can be interpreted at a different time, or space or by different people.

JCAM: What is your most important artist tool(s) and why?

OG: Interactive and installation work. Because it doesn't have any boundaries.

JCAM: How do you know when a work is finished?

OG: After visualizing and I am convinced of the idea, I start my work. I work till the end result is that which I have visualized.

JCAM: What are the art-making tools you use now?

OG: I am using multimedia.

JCAM: What new creative medium would you love to pursue?

OG: I would like to make large scale objects and installation with neon lights and video art.

JCAM: What's the first artwork you ever sold?

OG: I sold my first artwork titled, "Abol - Tabol (Meaningless)" in 2006. It was an interactive puzzle game. Viewers can also play and solve the puzzle.

JCAM: Do you make a living from your art?

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OG: Yes, of course. I am an art educationist, through which I earn my bread and butter.

But, yes, I am not directly depending on selling my art.

JCAM: What strategies could you share with other artists on how to become successful professionally?

OG: I don't have anything to share about strategies, because I am not a so-called successful professional artist, as I am still not attached to any art galleries and my work doesn't get sold often.

JCAM: What are your goals for the future, for both work and life?

OG: I can't do much planning for my future. I live with the present. So it's really tough to explain. I personally love to be with the time, will try to upgrade myself according to the need. I will take life as it comes.

So far I know, I love to live with art and will be.

JCAM: What interesting project are you working on at the moment?

OG: At this moment, I am not working on any project but yes, I have a plan to start the installation with neon lights and video art. Also, I am planning to do a few site-specific installations.

JCAM: What or who inspires you?

OG: Nature, My surroundings, Human's behaviors, birds and insects, movement, color, design, etc. These things inspire me always. especially a spider's activity (I never get tired of webbing, no matter how many time it's unsuccessful).

JCAM: Do you have a favorite – or influential – living artist?

OG: Yes, I do: Yayoi Kusama and Ernesto Neto. Yayoi Kusama's work gives me the strength to work with simplicity but vastly too. When I see her work, I can truly feel the vastness and it makes me involved in her work.

Ernesto Neto's installations offer a chance for the viewer to touch, see, smell, and feel his artworks for a truly sensory experience. For him, mind and body are one thing which is always together.

I also believe the same. My work is also still not complete without involving (mentally and physically) someone in it.

JCAM: What work of art do you wish you owned and why?

OG: My wish (which has never been fulfilled) is to own Picasso's Goat. Let me explain: in the years of 2001-2002, for the first time, I was a Master degree student, and I saw the original artwork of Picasso at the National Gallery of Modern Art, Mumbai, India. I was very much surprised to see the original work of Goat right in front of my eyes. The way 80

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he used different objects to make this sculpture was fabulous. Maybe because of this I have this obsession.

JCAM: Where do you find ideas for your creative work?

OG: The same as my inspirations, my surroundings are a great source for my creative thinking.

JCAM: What does “being creative” mean to you?

OG: Being creative means solving a problem in an innovative way. It means changing the perspective.

Being creative means taking risks and ignoring doubt and facing fears. It means breaking with routine and doing something different for the sake of doing something different. It means mapping out a thousand different routes to reach one destination. It means to challenge myself every day.

Being creative means searching for inspiration in even the most mundane places. It means be curious about everything. It means creating without critiquing. Being creative for me, means to know how to find the similarities and differences between two completely random ideas.

JCAM: What is the best advice you ever had about how to be more creative?

OG: Don't limit your challenges rather, challenge your limit.

Oli Gosh “What cannot be cured must be endured” / Mixed media

JCAM: Do you have any other thoughts you wish to share about your art or art practice?

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OG: An understanding of an artist's working process is very important to gain proper comprehension of artwork as well as the artist. The least a viewer could have is complete access to the work of art, physically – to feel and experience the form, texture, and volume – and mentally, allowing thoughts to connect.

As an artist, my medium of communication is my art; work which is mostly interactive.

The idea of making my work interactive arises from my reaction to the common and irritating term “DO NOT TOUCH” (found in almost every exhibition hall) and to which I take personal exception. I want people to touch my work for better communication. I believe that is what is a human being’s basic instinct is. It is usually out of our social notions of propriety or correct ‘gallery behavior’ that we control or resist our urge to touch or directly experience an artwork or artifact. Consciously or subconsciously the completeness of engagement comes after we touch, smell or hold an object. It is then that our senses are satisfied. It seems wrong to prohibit such a natural response and limit it to only ‘looking’.

For a printmaker (as I am) the making process is so fascinating that one automatically builds an attachment to the outreach of the medium and the way it can act as a conduit of interaction. My subjects are generally inspired by the working of children’s toys, puzzle games or the three-dimensional objects we commonly use in our daily life. Sometimes human expressions are reflected in my work. Much of my work revolves around my daily life experiences or appears through my memory lane.

My art usually begins with the start of an idea which I then visualize in the form of threedimensional objects. These can be realized in various media, (wood, plywood, fiberglass, ceramics, glass, digital prints) that coincide with my concepts and are as user-friendly as possible. My work often requires the collaboration of a carpenter or other technicians. I attempt to realize my ideas in as many functional aspects as possible. It is always liberating to free myself from technical boundaries and allow the idea to assume the greatest importance. It becomes a complex layering of artwork, functional object, and aesthetic device that moves beyond the aspects of technical realization.

For someone like me who stays in Mumbai or any other metro city is difficult to confine oneself to studio practice. It is not always affordable (in the sense of space, timing and living expenses); so in urban spaces like these, it is natural for everybody to work through the day for their bread and butter, which due to the system of our art world, cannot come purely from producing art. Artists usually find a balance within the milieu to sustain themselves. It is this challenge and acceptance of realities that I believe can give birth to the new trends in artistic expression.

I love to study people with whom I interact, in my way. Mumbai is a city where millions pour in every day with a dream or desire to make their livelihood. We don't know where they come from and where they will go every day. It is probable that everyone must have their own destiny. I would like to listen to their spoken and silent voices; I would also like to capture their innermost moods. Isn’t it true that everyone wears a mask in the professional and corporate world? It is a space where it is not easy to expose feelings openly. I would like to capture those hidden and transient feelings through my artwork. In

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a way, I would like to capture symbolically, the naked and truthful underside of our society. It gives me the possibility of articulating my own voice through my art.

My views, my wishes: personally, I revere freedom and thrive in a situation where I am able to work silently without interference and pressure. My work is a reflection of my life and my beliefs; it evokes my understanding of social issues which touch my heart.

I do not like to choose any particular tag line (like painting – sculpture – installation, etc.) for my work but I like to see it as a more wholesome form of expression, free from any mediumistic boundaries or technical juggleries. As we live our life with love and passion and receive valuable lessons from it; so also my artwork stands. And through its interactive and playful capacity I hope it can share the lessons I have learned.

I wish I could venture into people’s minds, to understand and interpret their wishes and their dreams for success which they do not/can not express. I would like to know their untold stories and search deep into that. I would like to mingle with them, going beyond notions of region, religion, country, and culture, and explain their stories in my style.

Artist Oli Ghosh creating 17’ x 9’ x 10’ installation

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Oli Ghosh “Women! Wow man! Human!”

Red Glass Bangles, LED Lights, Iron Armature

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Oli Ghosh “The Gift from my fiancé…” / Mixed media

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Oli Ghosh “The Gifts from my fiancé…” / Glass-molded Insects Framed

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Oli Ghosh “Life Becomes A Snapshot” / Mixed Media Installation

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Oli Ghosh “Life Becomes A Snapshot” / Mixed Media Installation

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Oli Ghosh “Hazaaron Khwaishein Aisi… (A Thousand Desires…)”

Mixed Media Installation

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Oli Ghosh “Love Bite” (Detail) / Mixed Media

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Oli Ghosh “Aabol Tabol (Meaning less)” / Original and puzzle views Mixed Media

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Oli Ghosh “Love / Reality” Mixed Media

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Pallavi Pandit JCAM: What is your professional name?

PP: My professional name is Pallavi Pandit.

JCAM: Where were you born? Does that place still influence you?

PP: I was born in Amravati, a town in Maharashtra state in India. This place hardly has any influence on me as I spent a negligible time of my life in this town. My father was working in a bank and after every 2- 3 years we used to get shifted from one place to another as it was a transferable job.

JCAM: Where do you live now?

PP: Right now I am living in the city of Nagpur, Maharashtra, India.

JCAM: Do you have family, friends or fellow artists who support you in your life and work? How do they make a difference in your life?

PP: I have family, friends and guides who encourage me. Actually I was able to take my education in the fine arts because of the support my family. I completed my graduation from Government Fine Arts College, Nagpur.

Actually nobody from our family until then had taken this kind of offbeat education, but my father and mother supported me. Even when I was in school in the late 1980's I used to go for art classes, which was not very common then. Now I have friends and Guides who encourage me to create art, and to undertake projects related to art. Definitely everybody plays an important role to help me evolve as a person and as an artist.

JCAM: When and how did you start making art? When did you first realize that creating was something you absolutely had to do ?

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PP: When I was a kid I had an inclination towards art. I decided that I wanted to be in this field when I was in 6th class. I still remember when my aunt gifted me with a beautiful book of art after watching drawings created by me. That was the time when I said, �I want to pursue a career in the field of art."

JCAM: Why do you make art now?

PP: It gives me satisfaction as it is the medium of my expression. Painting is the process for me through which I get connected to myself. So in one way it is a meditation for me. In my experience, it acts as a therapeutic process for me.

JCAM: How has your work changed or developed over the time?

PP: Definitely over the period of time my work has changed as my journey in the art field is little bit complex. I completed my graduation in the year 2000.

This was a period when the graphic art and animation industry was in great demand. I completed my Diploma Course in Computer Arts and was working as a graphic designer then.

In 2003 I got married and had a daughter. I was a full time mother then. I used to literally grab whatever time I could get and used to do some glass paintings and some traditional Tanjore paintings. This was a time when we were in Mumbai. Then in 2008, my daughter started scribbling on the walls of our home. And at that point I got back to painting. The simple, basic but bold and rhythmic lines drawn by my daughter gave me the inspiration for painting and I started painting regularly. I would go to the studio of Shri. Kashinath Salve Sir, the retired Dean of J.J. School of Arts, Mumbai.

In 2011 we came back to Nagpur and in 2012 I joined post-graduation course.

It was an important span in my life where I could explore different media and I started evolving as a person and as an artist. The process of development is still going and continues.

JCAM: What are you trying to communicate with your art?

PP: Basically I work on the concept of The Life. When I started my painting on this theme the thought was this: everybody has to face ups and downs in his lifespan.There is a phase where everything goes wrong; many obstacles are there and everything goes topsy-turvy. But in this situation, if you have a ray of positiveness, then you can stand strong.

I think we can get this inspiration from nature. In our surroundings we can see that even in very critical and adverse conditions, a seed still blooms up into a plant. And we human beings are gifted with so many abilities. So we can surely face the difficulties and can bloom up like that plant.

Now I am working on the same concept with a different perspective. Currently under the concept of Life, I am working on the theme Inception - The

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Beginning. The inspiration is nature and my thought is that - the process of the creation of new life is going on continuously in this universe whether it is in human being, in plants, in other species, in microorganisms and so on.

JCAM: Do you have any creative patterns, routines or rituals associated with your art making? What element(s) of art making do you enjoy the most and why? How do you know when a work is finished? What new creative medium would you love to pursue?

PP: Actually color patterns play an important role in my starting process. After the application of primary color which is done by pouring color on the surface, the next and most interesting part in my process is to figure out my forms.

During this process, when I have a feeling that my painting is completed I just stop working on it. In future I would like to do installations but I want this change to be happened gradually.

JCAM: Do you make a living from your art? What's the first artwork you ever sold?

PP: Actually I don't make a living from my art. The first painting I sold was the traditional Tanjore painting.

JCAM: What are your goals for the future, for both work and life? What interesting project are you working on at the moment?

PP: First of all I wish to pursue my PhD and keep on creating art. I also wish to publish a book related to art in our regional Marathi language. This is based on a project I completed when I awarded the CCRT Fellowship. This fellowship is awarded by the Ministry of Culture, Government of India, New Delhi.

JCAM: What or who inspires you?

PP: Whoever stands against the odds with strength inspires me. Most of the time I see this strength in women around me in society JCAM: Do you have a favorite – or influential – living artist?

PP: I would say in today's world, because of technology, we are getting exposed to many artists from different areas and different countries, definitely consciously; so subconsciously we may get their influence.

JCAM: What work of art do you wish you owned and why?

PP: I would love to have a collection of paintings of the Progressive Artists' Group. This group of Modern Indian artists was founded in 1947 in Mumbai (Bombay). I would love to have this collection because these are the artists who left their marks not only in the field of Fine Art of India but across the globe and they make our country feel proud.

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JCAM: Where do you find ideas for your creative work? What does being creative mean to you?

PP: I get my ideas for work from my surroundings. For me, to be creative means to think differently. It can be expressing what you have experienced and what you have perceived. It can be the out of the box thinking which you present in your own medium or language using your imagination and skills.

Pallavi Pandit “Inception - The Beginning I� / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning II” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning III” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning - IV” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning V” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning VI” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning VII” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning VIII” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning XI” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning XII” / Watercolor on Canson paper

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Pallavi Pandit “Inception - The Beginning XIII” / Watercolor on Canson paper

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Raghav Kaneria Raghav Kaneria’s Efforts to Integrate ‘Art as Part of Day to Day Life’ Article by Dr. M. Balamani Dr. Balamani is an Art Historian, Art Critic and Cultural Analyst in Baroda, Gujarat, India. He interviewed Raghay Kaneria in his home in Baroda.

Mr. Raghav Kaneria lives in Baroda, now known as Vadodara, in the Indian state of Gujarat. He is a sculptor and retired Professor who taught in the Department of Sculpture and was on the Faculty of Fine Arts Baroda from 1967 to 1996.

Before that he taught sculpture in the Walthamstow School of Arts in London.

He studied for his Masters Program in the Royal College of Arts, London. Raghav Kaneria is an artist of many achievements who sparked thought provoking questions through his art.

Raghav Kaneria entered the art field in those decades of transition when the Indian art scene was searching for its identity— trying to break the chains imposed by British Modern art language and finding the concerns of Contemporary questions on Indian identity. His life journey is an example of any commoner who saw the struggles of adjusting to the changing society of those times, and who had to develop shock absorbers to adjust to modern education policies.

Childhood and Education Raghav Kaneria was born on the 19th of March 1936 in Anida, a village in the Saurashtra region of Gujarat. He talked about his childhood incidents and his life experiences in graphic detail when I met him to discuss his work. His narrations were metaphorical, like short story narrations. As far as his art is concerned, he creates a point of focus, a thought provoking focal point for the viewer. The viewer can use their imagination from there.

Kaneria grew out of childhood in an age when traditional Indian ideas were beginning to shake hands with Modernity. He practiced his art in a time when Modern art was undergoing a transition toward Contemporary concepts, and began to include Indian thought and culture in its practices.

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When he joined high school and began practicing art in drawing classes, he believed that what his mother was making, drawings for her embroidery work, were not at all good drawings. She did not know the answer to what is art? But when returned from the Royal College of Art London, to join the faculty of Fine Arts for art college education, he realized the importance of Folk arts and traditional arts that are practiced as part of day to day life in India.

Raghav Kaneria’s descriptions of his childhood are the key to understanding those times of rural India. He explains his life experiences with a slow and subtle voice, cracking jokes in between about his ignorance. His narrations and explanations may at first sound mundane about the incidents he passed through. His parents were farmers and uneducated. Gondal’s state ruler, Bhagavat Singh, was educated in England and understood the importance of education having spent considerable time there. He made many reforms for his state of 175 villages. Mr. Kanerias’ village was one of those. He built school buildings and made a policy of compulsory education for the children.

No one knew their date of birth in earlier times because there were no records maintained. An office of date of birth registration was established. When a child became seven years old, the child should be sent to the school. Village schools offered education until the 7th standard. Studying 4th standard education for boys and 2nd standard for girls was made compulsory. Children did not like the education for two reasons. First was because children were habituated to play in the fields in leisure hours. Secondly the language of books for schooling was different from the day to day spoken language. It took great effort to even understand that language.

Days passed and Mr. Kaneria remembers students learnt nothing considerable. He says he could not even bunk the school, because the teacher would send other children to bring those absentees and deposit them in the school. Meanwhile he developed a habit of making drawings in the leisure hours of school. Mr. Raghav’s mother was making drawings for embroidery for herself as well for other women of the village who did not have good hand of drawing. He used to observe those drawings and practiced them while sitting in those vacant hours of school, recollecting them from his memory. He observed plants, animal and flowers in the fields, and started making drawings with charcoal on the walls of the village. This he collected from the coals of kitchen fire places. He laughs remembering those days and explains, even after studying 4th standard no one knew how to write their name. He spent his time listening to teachers scold him when they disturbed his sleep in between the study hours. But he learnt how to write his name in Gujarati and wrote 100 numbers. He completed his 7th standard.

Then came the time to make a choice to go out of village for further education. In his family there were five brothers. His father decided to give education to at least two of his boys. Otherwise it would be difficult for all his children to depend on his little farming lands in the future. Raghav was one of those two. He was sent to Gondal, five kilometers away from his village for further education and he lived in a hostel. After going there he stopped making drawings because he was afraid that he would be punished for the same. His hostel warden realized his drawing skills at the time of working for a magazine that was published for the students’ extra-curricular activities.

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The warden made him to join the art class and appear for the elementary and intermediate drawing and art examinations. He got prize money for the score in his intermediate examination given by a trust. That fetched him a color box and a brush and he started practicing colored images by copying paintings from the art books.

[Swiftly in between the conversation Kaneria got up to show me those images made of that box of colors.]

He still keeps those drawings very carefully with him. He made those images in 1950’s.

Raghav Kaneria joined Baroda Fine Arts Faculty in 1955 for an undergraduate program.

Though his hostel warden at his high school advised him to join J.J.School of art at Bombay, that was the well known art college of those days, he could not afford to go to Bombay. Baroda was nearby and affordable for him. He made friends with his super senior in the college, Mr. Jyoti Bhatt, a well known artist today, who is also from the same region Mr. Kaneria belongs to.

When one is in a new place, brotherhood is a factor in making a person comfortable. So after working on a mural project in summer vacation with Mr. Jyoti Bhatt at Baroda University Science faculty, he went home. He had enjoyed the hard work of assisting on the mural but when he arrived home, both pleasant and a heart breaking messages were waiting for him. Even though he had received first rank in his first year examination, his father told him to stop his education to search for a job. His father thought he was educated enough and they could not afford further education. The floor under his feet was shattered.

“I already tasted the apple by that time, and had the exposure of going to Baroda,” he said, “It was difficult for me put a break on my journey at that point.” But relief came after he received his remuneration for the mural work he carried on his vacation. And later he received fellowships of considerable rank, including a National fellowship, which supported his work and took him further.

In his undergraduate studies, Raghava Kaneria chose painting as his specialization. But this shifted to sculpture because materials were provided by the institute whereas he could not afford the cost of painting materials on his own. Needful choices make wonderful counters sometimes. Today we can see he coined new sculptural forms in his explorations.

Because his English language skills were poor, he could only receive a Diploma but not a Degree in his undergraduate course work. He was however able to complete a Masters Program at the Royal College of Art London, because language skills were not a barrier to get the certificate. He spent a significant amount of time teaching in one of the London suburb’s Art college, and worked on a Visiting Artist program in England.

When he joined Faculty of Fine Arts Baroda for a teaching program, Baroda became his home and work place.

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Thoughts Carried From Childhood At every stage of learning and practicing in his childhood, Kaneria spending long hours observing plants, animals and birds. The expressions of these observations went on piling up as he explored various natural forms. Peacock feathers and eyes became a default form in his undergraduate studies. Sculptures of cows and calves in different postures of energetic jumping and galloping became a playful sculpture series [1978].

His practice class model studies from his student days were molded in his obscure, broken language and expressionistic style.

One of his early student works, Duck, sculpted in bronze in 1957, is unmistakably in Cubistic style. Many of his later calf sculptures are also Cubistic in style. He sculpted cows and oxen into metal forms with lively expressions. Some are molded in a different style [1984] where the sculptures of oxen, or Nandi, are embellished in an Indian style of decorating the animals with daily or special rituals of rural India. They have a folk language and animated movements.

We cannot derive a linear or single stylistic pattern of sculpting and creating art forms in in Kaneria’ work. Forms, thoughts and ideas enter and reenter his works again and again. There is a dynamic variation to his work when looking at a retrospective it. He made a series of brass heads called, Icons in 1981. Though they are flat heads, one can unmistakably recognize that they are portraits that look like terra cotta plaques. He explored the designs of Lord Ganesha and looked at other folk art forms and styles for the same, looking to find the continuity of the maker’s thought processes. He is preoccupied in understanding Indian folk arts and wants to incorporate that understanding in his present day practices.

Explorations in Europe Times spent in Europe gave him opportunities to explore. He studied the meanings of ‘Growth’ in various forms. He was amazed by the dead seeds sprouting to life and saplings growing into another plant. He had observed those details in his childhood outdoors in the fields. Those observations translated into sculptural forms. He drew many and then sculpted them in stone and wood, installed them as wood assemblages, or welded them of scrap metal. He cast them in metal, in both large and small sizes, and in recognizable and unrecognizable forms.

Kaneria’s works in Europe look like tubes and wheels of found materials like Pop art or minimalistic linear forms by Brancusi. On face value they appear like round tubes, linear and circular, simple geometric figures. But surprisingly they are not thus. They are the various forms of germinating seeds that take shape while growing in the soil, right from sapling stages. The core concept remains as his native understanding finds its way into new forms. The viewer is given a taste of fusion in this Growth series, with a variety of forms and material choices. Additionally, it challenges viewers to recognize the embedded meanings.

Looking at the work, the germination of a seed unfolds into the story of the birth of the plant. The germination from a seed also can tell the stories of erotic forms, a modified

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form of Lord Shiva’s Linga and Yoni Peetha, a symbolic relationship of male and female and the physical bonds and the feelings involved in the bonds. The lines and circles appear as if they are molded and are drawn from the very mundane found metal objects and rubber tubes. A keen observer’s eye cannot escape the symbolic forms and meanings amalgamated in these works. The forms are subtle, yet at times very eerie.

Sometimes their size is huge, more than the life size. At another time it is too small. The artist creates visual confusion between the feel of wood or metal and he experiments with rich textures as well.

Scrap Metal Assemblages The artist has created numerous sets of scrap metal assemblages. Raghav Kaneria feels there is a limitation to working in scrap metal because one can only create the work out of available materials. That said, he has created amazing, expressionistic sculptures from scrap, exploiting the degenerated metal shapes into these expressionistic art forms. Every piece has its own story to tell, whether it is a standing human figure, a crowing rooster perched high on a roof top, or a galloping calf.

Metaphorical Narrations When asked about the difference in his styles of sculpting at various stages of his life Kaneria responded with some metaphorical narrations. He explained that when he first joined the Fine Arts curriculum in Baroda, he was ignorant of the situation around him.

Even the schedule of classes wasn’t something he could understand to begin with. He joined for the sculpture specialization though he never had any idea about that stream of art. He says he had to jump in a blind well of unknown depths without knowing how to swim. He says he never liked such uncertain acts. But it was too difficult to leave the art stream after coming such a long way. He had to learn to swim to exist.

His teachers imparted knowledge of art when he managed to stand by himself. He says, he started wrapping that knowledge in a shoulder bag and the bag size slowly increased. He carried that bag to Europe for further education. There he says he again started collecting more information. Now the bag size is filled and is the collection of knowledge from both the places. That information began to come out in the art works at times united and at times separated. Viewers should understand that the shoulder bag which carried such information also carried forward experiences from his native place back home.

That was a very telling explanation about the works he carried at every stage.

He visualizes a treasure chest of creativity lying on the top of the world, a world of creativity that inspires him to reap the art from that treasure. His imagination is as graphic as his explanations. He adds humor in between these conversations. He says, “do not think I keep my beard to pose as an artist. I did not have money in those days to shave my beard. To keep the memory of those days alive, I continue to keep my beard.”

He says this with little smile while watching the people. He does not miss observing people around him even while he changes from serious to jovial in between serious conversations.

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Amalgamations and Impositions of Art Practices in India Raghav Kaneria’s generation of artists searched for the meanings that were lost in the whirls of Modern art in the air of India. The British taught India that what Indian artists had practiced for ages was not intelligent enough. They forced Indians to believe that learning from the British could teach the society intelligent, Modern art. So when took art and drawing classes at Gondal high school, he too believed the same. He says he could not understand the meaning of the arts practiced in India until he returned from Europe and came to Baroda Fine Arts Faculty. He saw that art is part of the life and living in India. He saw that when a lady is making Rangoli, floor designs and embroidery for installing the Lord Ganesha, she performs the art as part of that activity, part of daily life.

It is not practiced as an art form independent of daily life. He saw that when the British required the teaching of perspective drawing; when they brought their concept of, Art is for the sake of Art alone, not for utilitarian purposes, the system of Indian art practice was shattered.

As Mr. Kaneria continued his conversation he said that many foreign invasions had happened in India earlier. The invasions of Alexander brought a mammoth change.

When Greeks entered India they exchanged art styles with India. Kushana art is the outcome of that exchange. Indian art style and practices were enriched at that time but not shattered. Here, the way that British arts education was imposed, it was different from before. It has damaged India completely. And he worries whether it is repairable and rechargeable at this point in time. His experiences and attachments to his life styles were clear in his art right from the early days when he was working on figures and forms and drawing from his childhood memories and the memories he collected from his mother’s drawing. But what he practiced after learning British ways having consciously changed his thinking is different. He is worried about losing the conventional understanding and Indigenous practices. His efforts are to go back to that understanding where art is part of Indian living systems. He says many artists’ efforts are invested in reviving the same, but he is afraid how far we have to go to get it back, because no continuity is left.

Documenting Indian Folk Arts Something more happened in Raghav Kaneria’s practices on returning from Europe in 1970’s. Mr. Jyoti Bhatt along with a photographer friend Bhupendra Karia, started documenting all the vanishing folk art and traditional arts of India, whether they are wall paintings of rural Gujarat or Rangoli art of South India. Society adapted modern life styles and practices and caused the disappearance of those traditional practices.

Raghava Kaneria joined his senior friend Jyoti Bhatt in the documentation.

On and off for twenty-two years, whenever he came across the various art forms of Gujarat, Kaneria documented the visuals from his native place. These included costumes, folk songs, dances, murals on the walls of the houses made by women and more. These are regional traditions, like everywhere in India, art forms like embroidery, terracotta, Madhubani paintings, Mandala of North India, even cooking are all part of the aesthetics of daily activity. In India everything part of life and culture is kept alive

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through activities, not by education and curriculum. British education did not allow any new way of amalgamation. All of India’s native systems were erased out of main stream art practices. The British taught about Modern/Intelligent art that imitates Nature. Indian art did not imitate Nature. Indian artists of those times observed Nature and translated those observations along with their feelings to create figures on temples or into folk art practices. In that sense the individuality of every artist and the art expression remained.

Religion in India has given a wonderful platform for the arts to flourish, whether it is in the household, royal patronages, in individually conceived art forms or on temples. Art keeps the living traditions alive. Both art and social traditions balanced each other in keeping the social culture to continue for the ages in India.

Historically, there is an Indian tradition of making drawings on cloth and making an embroidery on that design. Lord Ganesha is placed in those designs when used as a opening ritual on any auspicious occasion in Gujarat homes. That embroidery on cloth or designs on paper would further include the consorts of Lord Ganesha, auspicious animals and birds like peacocks, parrots and elephants, all forming a shape similar to a temple.

Whether it was about the memories of his mother’s drawing or the love for Indigenous practices, Kaneria’s art practice developed yet another depth. He started making elaborate drawings with intricate, fine lines. These wonderful drawings are done on paper and it takes months to complete one. They occupy his creative hours when he is not sculpting. These designs are done in ascending and descending thicknesses of black lines and tones. When asked if those drawings have anything to do with Naaglok -Serpent rituals because the forms are of coiled lines that look like serpent drawings, he says there is nothing of that sort. Further he said he observed Adivaasi, images made in tribal areas, so certain features may look like those drawings.

Kaneria made Ganesh idols in metal and they are in folk style. One such sculpture is installed in his home shrine. He says even these drawings if someone wants to use it for Lord Ganesha’ installation on the auspicious occasions they can use the same. When asked how he would differentiate this art for art sake versus the practice of making sculpture for worship, he smiled and said, “I made the drawings. If someone wants to use it for the ritual worship they may or someone wants to keep it for decoration on the walls they may. I did my bit of work. I have no philosophy in making any art or drawing. I do whatever I like to do and I enjoy. I leave the rest.”

Kaneria’s Position on Modern Concepts When contemplating on the aesthetic value of Kaneria’s art practices, one can take the artist’s work and use it for esoteric value or aesthetic value. That is for the viewer or audience to decide. And that was true for earlier Indian arts practice as well. The embroidery made for installing the god is used only during the rituals and special occasions. The rest of the time it is lying aside as an aesthetic form. There are many regions in India that whenever there are any auspicious occasions, wall paintings or floor drawings are done. The Pithora paintings of Gujarat are made on the walls with

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similarly practices and meanings. Once a ritual occasion is concluded, they remain for aesthetic value as walls decoration.

To compare these practices, Mr. Kaneria reached the similar situation of those Indian understandings about art practices by making these drawings. The difference is he practiced fine drawing lines in the art college curriculum, where as people back in folk practices did not make fine line drawings. But he says that folk line has its own charm and aesthetic, one of direct expression which he feel he lost in disciplinary drawing practices.

Raghav Kaneria’s work certainly continues to be filled with the observations he made in his childhood and shows the love of the simple life of rural India. But his work is not nostalgic. The term nostalgia connotes a fixed time in the past. Kaneria’s thoughts walk ahead, trying to reincorporate both earlier and present day explorations. They combine his techniques, methods and meanings, and his concepts of the present day. He expresses his observations about rural India and translates folk art practices into his contemporary work, and travels beyond Modern art impositions. Kaneria has achieved a personal aesthetic and transitioned Indian thought through his art. His art and artistic style has become part of Indian Culture.

Raghav Kaneria “Untitled” / Sculpture

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Raghav Kaneria The Artist with One of His Sketchbooks

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Raghav Kaneria Metal Sculpture

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Raghav Kaneria “Untitled” / Drawing

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Raghav Kaneria “Untitled” / Drawing

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Raghav Kaneria “Untitled” / Drawing

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Raghav Kaneria The artist with some of his sculptures.

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Raghav Kaneria “Untitled” / Sculpture

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Raghav Kaneria Terracotta Sculptures

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Raghav Kaneria “Untitled” / Sculpture

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Sudatta Basu Roy Chowdhury My professional name is Sudatta Basu Roy Chowdhury but I sign my name as Sudatta at the bottom of my paintings. I was born into a middle class family in 1973 in Howrah, a small town in West Bengal, India. There I was always close to the greenery and country atmosphere far from the complexity of mechanical life.

At present I live in the very congested, concrete-structured city Kolkata. These two places influence me even though they are by nature very different. This dichotomy provides a broader vision which helps me to to capture both nature and contemporary humanity simultaneously.

In my early work I always brought nature directly into my imagery. Things like banana trees are seen in my oil paintings. I paint them because in India this tree has a very significant meaning related to some rituals and religious interpretations.

In the countryside where I spent my childhood our small town was surrounded by so many trees and animals that were connected with our various myths. For this reason I used these plants and creatures as my subjects. These kinds of images played a major role in my work. In my painting it was an early goal of mine that human beings harmonize with nature and all creatures.

I grew up in a family where artistic culture was valued. My grandfather was an artist who graduated from the Indian College of Arts & Draftsmanship. I never met him because he died when my father was only a child. But then I graduated from that same college with a focus on painting 90 years after my grandfather. Due to my family tradition in the arts my artistic instincts were nourished from my childhood. I have had support from my beloved elder sister who always stood beside me like a mother. And I have had the support of my husband who is a journalist. He, along with my teachers and close friends, always encourage me to be constantly intellectually curious. Clearly, I have been privileged to develop my creative self and was surrounded and inspired by good films, good books, and good music.

During my youth I regularly read art magazines and books from our local small library.

But, as I was born in a small town, rather a village, and I never learned about the Modern art world or any art related activities beyond those available to me in the library.

Why? Up until the year 2000 we had no cell phones or Internet. Sometimes I found this

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depressing. Even so, somehow I was able to seek and find at least one person who could assist me with information or feedback about what was happening in the Art world beyond my village.

After I pass the 12th standard in school I desperately looked for an artist who would guide me properly. Coincidentally, I met a family friend whose son was a well known artist. When visiting his house I was mesmerized by his large paintings hanging on the walls. His name was Sudip Chatterjee. I travelled to his studio nearly four hours by train every Sunday. He guided me thoroughly for more than six months to get ready for the admission test of the art colleges in Kolkata.

After six months of testing and waiting I was selected for all three art colleges in Kolkata. For a number of reasons I choose Indian College of Arts and Draftsmanship.

This college was very far away from my hometown. In order to study there I had to travel more than five hours daily round trip. This routine continued almost five years for me to meet all the requirements for graduation. It was a very tough job and this phase of my life taught me to fight for what I wanted and to achieve my goals through hard work.

That long journey developed my artistic vision, my observational skills, and it shaped my artistic horizon. I learned to respect the people who helped me to concentrate on my subject matter for the future.

Due to my lack of financial support, while in school I had to work part time to earn money. I did illustrations for various magazines and daily newspapers. Though these jobs did not pay much, this kind of work taught me about spatial layout, tonal gradation in monochrome work, and it strengthened my line work as well. This kind of line work has come to play a significant role in my current artwork.

Besides those jobs, for more financial support, I designed apparel for a friend’s boutique. I worked there for many years. Through this work, my sense of color distribution and my color palettes were greatly enriched. Today I design hand-painted apparel and a friend who exports my designs to many countries. Designing apparel has improved the quality, the fluidity and the rhythm of my compositions.

I studied for my Masters in painting at Rabindra Bharati University in Kolkata. This university was founded in honor of the great Indian poet and Nobel Laureate Rabindranath Tagore. So this place influenced me from every corner of my life. His poems, his songs, his philosophy have always shown me a path toward spiritual enlightenment. Upon entering the graduate program at this university I was eager to know more and more about the art world and especially about Modern and Contemporary art history. This two year program was the most artistically enriching period in my creative life. It was just an ocean of experience for me to enriched myself.

At Rabindra Bharati University I was greatly influenced by some remarkable professors who were inspirational in helping to build my creative thinking. But, at the same time, I was came under great social pressure because I had crossed into the so-called marriage age. I was in my mid twenties and in India, and particularly in small town culture, marriage is a big issue. I was forced to marry a selected groom of my family’s choice. Fortunately, my father kept a condition that I would never stop my art college

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education. My family never discouraged me in my search for creative identity and artistic freedom.

Even so, it was at this time when I realized my cultural worthlessness and the negative value of a womanhood in the society in which I lived. This stirred my soul so deeply, that in response, I painted a series I called, Widow. I did this as it allowed me to contrast this subject matter to my personal life. In this series the paintings show the depth of the void, the emptiness, and the loneliness of women in rural India.

The figures in this series of paintings are grouped in a tight bondage; however this bond is made only of emotions. All those paintings are done in oil and acrylic on canvas and are relatively large. I worked on these for four years and then I left the subject matter behind. Perhaps I exhausted my energy for this subject. Perhaps not. Perhaps I will return to this subject in the future – who knows? But these paintings are important to me both as an artist and as a person.

Those paintings were rooted so deeply into my inner self that they gave me a jerk from my upbringing and my cultural background. Those works shook my thoughts about my life and made me question my cultural identity. This pushed me to search deep inside myself. I continued on and passed out my masters degree with a first class gold medal.

This was an important moment and achievement for me personally. Maybe it was just a round piece of metal, but it increased my confidence level high, nourished my creative intuitions and widened my perceptions of life. From there I stepped into my professional life confidently, but my self searching continues to this day.

And now I want to share my thoughts on some artists who inspire me. These artists’ lives are like monumental creative works that fuel my own creative search and energize my artistic spirit. Some were great artists; some of them were wonderful writers, and some of them great philosophers too. First, I am a faithful discipline of the great poet, writer and philosopher Rabindranath Tagore. He is always with me and within me, like a huge Sun whose aura falls upon me like a spectrum of divinity. I have never believed in God but Tagore has always taught me how live and how to be a creator. So he is a god to me.

Additionally, I have always favored the works of some great Western and Indian fine artists. Among the Western artists I admire are Paul Cézanne, Vincent van Gogh, and Henri Matisse. Their color treatment and use of space attracts my attention. The works of Henri de Toulouse-Lautrec and Gustav Klimt inspire me as well. Among Indian artists I am very fond of Binod Bihari Mukherjee, and one of the leading artists of the Bengal School Style the first famous female artist of India, Amrita Sher Gill. In my early college days I was infatuated by her work. Her feminism is reflected subtly in her oil paintings.

My early works are reminiscent of her works; especially her self portraits. Another female artist who has deeply influenced me is the Mexican artist Frida Kahlo. Her philosophy toward life attracted me as much as her art works.

I have found inspiration in a number of contemporary artists. They include my teacher and guide Chattapati Dutta, Partha Pratim Deb, and the Indian conceptual artist Mithu Sen. Her self dissection amalgamations with creatures present a virtual world in a witty,

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yet sketchy way that inspires me. I am also very moved by Tracey Emin’s works. Her way of speaking about feminism is superb. All of these artists have influenced my artistic philosophy and my art work.

Every artist has a vision and searches for her style of working. As artists we are influenced by many kinds of objects and experiences in the world around us. It is different for each artist. As for me, just about anything on this earth inspires my creativity. Even so, in my creative process the most valuable component is Emotion. I observe the people around me and work to build their characters into my paintings. My observations and perceptions are important in the conception of my art work. For this reason I intently concentrate on human reactions when discussing important contemporary issues: political, social circumstances, and most important to me, issues specifically orientated to women. This would include the problems women face, their feelings, their ideas about self realization, and self beautification. All these concerns are subjects in my work.

I choose my medium according to the content of each work. For example, I sometimes use tissues to help the viewer understand tender feelings. For more sensational issues about womanhood I have used threads to depict how we string together emotions and stitch our lives together with thoughts of hope. I use stickers, mostly butterflies, to add some wishful wings for every woman. In these ways even the smallest, most ordinary things have become resources to represent my creative ideas.

For me, the word creative means to perform aesthetically in life on my own terms, in any thing or in any way. But, to be truly creative one must just do it. I don't think that creativity is only related to a canvas, or to colors, or to a song, a poem or a presentation in a dramatic scene. Creativity can be everywhere in every stage of our life. A creative person always lives this life-long process. Creativity is a journey. An artist is always searching for a philosophy toward life so this quest leads her to be creative. Every work of art, in any kind of medium, should be connected with this value of creativity.

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Sudatta Chowdhury “Conjuring Heart” / Mixed Media

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Sudatta Chowdhury “Crimson Affairs” / Mixed Media

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Sudatta Chowdhury “Kali” / Mixed Media

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Sudatta Chowdhury “Self Revelation” / Painting

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Sudatta Chowdhury “Butterfly Biscuit” / Mixed Media

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Sudatta Chowdhury “In the Banana Garden” / Painting

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Sudatta Chowdhury “Mother” / Mixed media

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Sudatta Chowdhury “Seedling” / Mixed Media

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Sudatta Chowdhury “The Blue Umbrella” / Painting

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Sudatta Chowdhury “We Are Happy To Bleed” / Mixed Media

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Sudatta Chowdhury “Time to Fly” / Mixed Media

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Sudatta Chowdhury “Bridal Pose” / Painting

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Tami Bensen JCAM: What is your professional name? Where were you born and does that place still influence you?

Where do you live now and how does that place influence you? Do you have fellow artists who support you in your work, or make a difference in your life?

TB: My name is Tami Bensen and I am an Intuitive Artist. I use Art as a tool to access my inner voice and I show others how to do the same. I possess a very unique gift of allowing people to feel safe and seen especially when they are creating for the first time.

I call myself an Intuitive Artist for many reasons. Here are a few examples: I follow my intuition as my artistic process; I work without a plan or self judgment, practicing trust and surrender. Along with being an Artistic channel, I am also an Intuitive Medium who uses art as a catalyst to access universal knowledge. I am able to combine my gifts to bring unique and powerful experiences of healing and empowerment to my clients.

I was born in Los Angeles, California and grew up in the Angeles National Forest. This experience still influences me to this day because I got to experience pure freedom as a child. Being constantly surrounded by nature and my many animals daily, I developed an intimate relationship with nature and myself. Although we were only twenty minutes outside of the city, I got to experience two polar opposite worlds almost daily. I truly believe these experiences helped develop such a deep balance and understanding of the world.

I currently live on the West Seattle peninsula and I am inspired daily by my surroundings. I truly love the community that I have made here in Seattle, especially at Inner Alchemy where I work. I host many Intuitive Art experiences, Healing through creative expression and Spiritual retreats. I also see private Intuitive coaching clients and perform Intuitive readings in person and online.

Although I have met many emerging and established artists in Seattle through volunteer efforts, I don’t currently have any close connections with them. I am inspired by the

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universe and the wonderful people and animals which are in it. If I had to say one person who has absolutely inspired my direction in art it would be Carl Jung. Although I was unaware of his artwork when I began this journey, as I continued on and was introduced to more and more of his work, I saw many similarities. The only explanation for this is I was tapping into the “Collective Consciousness” in which he had coined and placed in the world. The Redbook is such an exquisite example of “Art as a Spiritual Practice.” This is now a subject that I teach on Sundays at Inner Alchemy.

JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do? Why do you make art now? How has your work changed or developed over time? What are you trying to communicate with your art?

TB: I always enjoyed creating things as a child at my father’s spare parts shop. Taking things apart at his workbench was where I found joy. These experiences are where my art lessons began.

As an adult I ended up working for ten years for a corporation where I did interior design. It wasn’t until I quit this corporate job to find my passion that I realized I could create art just for myself.

I began practicing abstract painting intuitively. It became a process for me to practice to not judge myself. As I continued to try this very vulnerable experience, I realized something was opening in me. I become inspired and started writing. It was during this time that I realized that this is what I would like to do for the rest of my life!

As I continued this practice, some things started to unfold in me. I began to realize these very special gifts which I have always possessed. I am an intuitive Medium and use art as one of the catalysts to communicate to the universe.

I create to understand my soul. Making art for me isn’t just decorating. It’s a two way conversation with my soul. This is my form of self-care to show focused attention to my heart and soul.

When I first began creating I was going through a process of releasing all these trapped emotions and expressions which needed to be released. You can tell the difference in my older works by the level of intensity in them. As I continued I slowed, I began to understand myself and incorporated pause and breath.

Looking at all of my pieces from start to finish I can see my journey in life. Each art series is a particular moment in my soul’s journey. I create art now through a very specific ritualistic practice.

What is being communicated through my art is a spiritual vibration of healing. Most of the collectors that purchase my work are drawn to it because of this vibration. You see I have experienced major transition in my life in many different forms and the people that are drawn to these works are usually going through that very same thing. One example of this is the series I created after I quit my corporate job. Every person who purchased those works was also in a crossroads of making that very same decision.

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I am an intuitive artist and I use art as my spiritual practice. What this means is I work without a plan, I allow my heart to be intuitively drawn to colors shapes sizes and form.

When people buy my artwork they are not just purchasing color and shape. They are buying a piece of energy work and healing to hang on their wall. I infuse each piece of artwork with an energetic vibration and crystal healing energy.

Not only do I use crystals to charge each one of my paintings but I also paint with ground up crystals! I allow the universe to guide me into what I need to create or communicate through my work.

I allow myself to be a conduit to create a message or a vibration for whoever the client will be. Just like doing a reading, it is really none of my business I just follow directions. I really enjoy this process it brings me incredible amount of joy!

The most important artist tool that I have would be, by far, my heart It is what allows me to trust intuition and calm the ego mind.

I can feel in my gut when a piece of artwork is finished. I use a form of intuition called clairecognizance (clear knowing). This is how I know for certain that my work is complete.

I use many tools that to create my works. Some of these include, oracle cards, antique skeleton keys, plant matter, crystals, finger painting; anything can be a paintbrush!

JCAM: What new creative medium would you like to explore?

TB: I would love to learn stone sculpture. I love playing with wax and have always been drawn to it. I think this will be my next adventure!

JCAM: What is the first piece of art you ever sold? Do you sell your work now?

The first piece of art I ever sold was a hand carved, waxed sculpture. I was eighteen years old. My best friend and I started a candle making company and I began doing wax sculptures as a hobby.

I am a working artist. I sell my artwork and I am the owner of Intuitive Art Seattle. I am an intuitive medium and I perform art channeling for my clients. This is a process of connecting to a persons ancestors or spirit guides and creating a piece of artwork that is specific to them during a reading. I teach art journaling and intuitive art classes along with having spiritual retreats here in Seattle.

JCAM: What is the best advice you can give about art?

TB: The best advice I can give to other artists would be, you are really selling yourself not just your work. Personal relationships are the most important part of selling and

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communicating your work to the world. If you’re going to show up, then show up fully and tell the world who you truly are. Fortune favors the bold!

JCAM: What are your goals for the future?

TB: My goal for the future of my art would be to have an exhibition at the Frye Art Museum in Seattle. My personal goal is to continue to build these spiritual retreats and continue to ask important questions to help people connect to their true selves. My most important project to date is a collaboration with a hypnotherapist and energy healer to create immersive experiences to help connect people to who they truly are.

JCAM: As an artist what do you seek?

TB: A retreat to self inspiration. The universe inspires me! The fact that we are all creating our own reality in every moment. One of my most favorite pastimes is talking about the universe, from micro to micro, there are repeated patterns and everything.

You can see this translated in my work as I create art inspired by the cosmos and also intuitively created micro organisms. This lovely place we live inspires me daily.

JCAM: Which artists most inspire you?

TB: The two living artists I feel the most connected to are Yayoi Kusama, and Marina Abramović. These two women are being brave and showing up in the world for exactly who they are. Bravery inspires and fuels my work.

JCAM: If you could own any pice of art what would it be?

TB: The piece of artwork that I wish that I owned would be the Winged Victory of Samothrace, also called the Nike of Samothrace. This amazing sculpture has always captured my heart since I was a young child. There is something so magnificent about carving something from stone. And I am incredibly drawn to this time period for reasons I cannot truly explain.

JCAM: Where do you find ideas and inspiration for your artwork?

TB: I find ideas for my creative work usually just through experiencing daily life. When I am in the flow, ideas come easily. When I find I am not caring my for myself or I am out of alignment, this is when negativity and blocks can happen. Over time I have been able to become more aware of my behavioral patterns to accurately manage when I am on the right path.

JCAM: What do you think it means to be creative? What advice do you have about being creative?

TB: Being creative means being human. Each and everyone of us is creative, just as each and everyone of us has intuition. The question is are we brave enough to use it?

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We are creating in every moment. It’s just that most of us are not aware that we are doing it. The advice I would give about being more creative is what I tell my students.

You can take charge of what you are creating in the world, or you can let your subconscious mind create something for you which usually isn’t what you want.

Tami Bensen “Periscope” / Ground Crystal Watercolor on Canvas

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Tami Bensen “All” / Mixed media - Paint & metal

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Tami Bensen “All” (Detail) / Mixed media - Paint & metal

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Tami Bensen “Blending With Light” / Mixed media - Paint & other materials

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Tami Bensen “Dreaming 1” / Mixed media - Paint & other materials

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Tami Bensen “Shadows” / Mixed media - Paint & other materials

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Tami Bensen “Surrender” / Mixed media - Paint & other materials

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Tami Bensen “Introspection” / Mixed media - Paint & other materials

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Tami Bensen “Miracles” / Mixed media - Paint & other materials

Tami Bensen “Pulse of the Universe” / Mixed media - Paint & other materials

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Fall 2020 – Vol. 6, No. 2 “The Final Word” This issue of the journal marks our 6th year of publishing the JCAM. We are proud of this milestone and humbled by the trust put in us by the visual artists, creative writers, and project creators who have allowed us to tell their stories.

And, as with all previous JCAM publications, this issue has been a significant learning experience for us. As our essays in this issue suggested, we could never have foreseen the challenges presented to all of us by the COVID-19 pandemic in 2020. Even so, we have persisted and together we have elaborated our marvelous international network of creatives. The result is this new issue of the JCAM. Thanks to all of you!

This is the 12th issue of the JCAM. A 13th, another special student issue, will be posted online very soon. These publications each came about in ways that we would never have believed in 2014 when our developmental efforts first began. Our idea then was simple: We would, without significant funding, or a large staff, reach out online, through mostly no-cost tools, to connect with creative writers and visual artists internationally.

We would then publish their work online at no cost to them or our readership. And, that is exactly what has happened! This is very gratifying indeed. It is wonderful to see an ambitious plan put into action and produce such positive results.

In closing, we need to share this: The JCAM staff is always interested in how we might betters serve the online art and writing community. What other kinds of features would you like to see in future issues of the JCAM? What are the names of the creative contacts to whom you might direct us? Let us hear from you at: jcam.jal@gmail.com Sincerely and with best wishes for a marvelous 2021!

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Information for Submitters for the 2021 Issues

The Journal of Creative Arts & Minds (JCAM) is a unique project of Jumbo Arts International which holds all rights exclusively.

JCAM is a juried publication. All submissions are reviewed by a panel of experts assembled by the JCAM editors.

JCAM publications focus is on artistic creativity. We publish original visual artworks, articles on the visual arts, crafts, creative writing, poetry, performing arts, interviews, reviews, and columns on subjects appropriate to the focus of the journal.

JCAM submissions: On request, interested parties will be sent the information and documents required for the formal submission of work to JCAM editors.

JCAM publishes in English. Are non-English submissions possible? Yes, in certain cases JCAM editors will work with artists to translate into English text documents that are directly related to visuals that have already been accepted for publication.

JCAM publication schedule: In 2021 JCAM will publish 2 issues. The publication schedule is Summer (June-July) & Winter (October-November). Submitters should contact the JCAM editorial team well in advance of these publication dates for information and guidance.

Current JCAM information is available on our Facebook page: https://www.facebook.com/JournalofCreativeArtsandMinds Previously published issues of the JCAM are available online: https://issuu.com/jumboartsinternational Information about the JCAM publisher Jumbo Arts International is available online: http://jumboartsinternational.org/ All questions regarding the JCAM should be sent to: jcam.jal@gmail.com

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