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The Lexicon Collection

The Lexicon Collection Essays by Romola Shanbhag Suman Bajpai Subhra Mazumdar Sonam Agrawal Chandrasekhar Srivastava Abhishek Kumar

The Lexicon Collection

Contents

101

Ram Sutar

Anand Goswami

Ritu Manchanda

122

Pooja Sharma

174

Vijender Sharma

Bijan Paul

Arup K. Biswas

124

Indu Mohan

176

Badal Chitrakaar

C. B. Rasaily

Vijaya Ved

126

Ravi Krishnan

178

Ram Kishore Yadav

Samiran Majumdar

Dinesh Kumar Ram

128

Sunil Kumar Saini

180

Jagdish Dey

Sachin D. Naik

Vimal Chand

130

Mohd. Ather Jafri

182

Nand Katyal

Asurvedh

Haseen Ahmed

132

Masarrat Khan

184

Manju Narain

Anil Tato

Moinuddin Ghazali

134

Bhaskar Singha

186

Mohan Singh

Dhananjay Mukherjee

Mahmood Ahmad

136

Devajyoti Ray

188

Prithvi Soni

Vipul Das

Shirish Kumar

138

Sayed Arif Ali

190

Sher Singh Kukkal

Amit Dutt

Shyam Porwal

140

Kamal Kishore Swatantra

192

Biman Bihari Das

Aditya Dev

Timsi Gupta

142

Dilawar Khan

194

D.P. Sibal

Annu Naik

Anoop Kumar Srivastava

144

Priyanka Sharma

196

Pankaj Mohan Aggarwal

Vigyan Vrat

Pratibha Singh

146

Kalpana Mohanty Rai

198

M. S. Thakur

Surekha Sadana

Madan Lal

148

L.N. Rana

200

Mukesh Parth

Ashwani Kumar Prithviwasi

Alka Bhrushundi

150

Vinita Vasu

202

Rajesh Harsh

Suresh Kumar

100

Aasutosh Panigrahi

152

Brajmohan Arya

204

Anita H. C.

Sneh Bhasin

102

Ved Prakash Bhardwaj

154

Mahammad Firoj Ali

206

Mahendra Kumar Puri

Seema Jindal

104

Sabia

156

Abha Agrawal

208

Anita Banerjee

Sanjay Soni

106

Sharmistha Dutta

158

Deepa Seth Bhando

210

Pawan Pagal

Saswati Chaudhuri

108

Ravinder Tomar

160

Monika Verma

212

Anil Sutar

Ankur Rana

110

Roop Chand

162

Radhey Shyam

214

Vishnu Pawan

Ragini Sinha

112

Dr. Anjni Prasad

164

Sunil Sawane

216

Sunder Lal

Laxman Kumar

114

Anita Tanwar

166

Chander Shekhar

218

Nawal Kishore Rastogi

Ramesh Terdal

116

Dalip Chandolia

168

Aiyana Gunjan

220

Praveen D. Upadhye

Ramesh Thorat

118

Shobha Nagar

170

Shikha Agnihotri

222

Kumar Gaurav

224

Conceptualised & Published by Divesh Nath For and on behalf of: The Lexicon Collection 227, Sukhdev Vihar New Delhi 110 065, India. www.TheLexiconCollection.com

Foreword

Copyright 2011. All images of the paintings are works of individual artists. Individual consent resides with The Lexicon Collection for the publication of the images of paintings by the artists in this volume. Readers are advised that while using the contact information of the artists in this volume, they should practise prudence and The Lexicon Collection will not be held responsibility for it. For some of the artworks in this volume, The Lexicon Collection is having the copyright. All rights are reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, in any information storage or retrieval system, without the permission of the publisher.

Printed and Distributed By The Lexicon Collection Printed at: New Model Press, New Delhi INR1,000.00 US$ 50.00 The Lexicon Collection www.TheLexiconCollection.com ISBM No.

Although few people are destined to become practising artists, all have something of the artist in them. Their lives can be infinitely enriched if they can be given sufficient experience of the arts to encourage them to make a constructive adventure of the use of their eyes. Such an adventure, stimulated and given direction by contact with the arts, can add enormously to an individual’s all round enjoyment of life, and also to his value as a member of the community; for it gives him an interest in the general environment and a desire to maintain it where it is beautiful, and to improve it where it is ugly. It may also give him a suppleness of mind and an enhanced philosophy of life which will ensure that old age is a thing of the body only. If it were merely a matter of giving a little more attention to nature and of visiting art galleries, no more need be said. But, unfortunately, art galleries are often sources of great bewilderment. Those who are unacquainted with the problems and ways of thinking and working of artists are too often discouraged by the variety of perplexing styles and subject-matter of paintings and sculptures, especially of those by contemporary artists. It is precisely to fill this lacuna that a volume like this – with introductions to over a hundred Indian artists, senior or junior – has been put together with much labour by the Delhi Press, a veteran

institution of Delhi with its several notable publications of cultural value. The editor and the staff of the Press have done a painstaking job of screening those of the artists who could be included in the publication. The choice must have surely been hard for, otherwise, the volume risked becoming too unwieldy. Some of the known names may well be found in other publications, but the somewhat lesser known needed highlighting. And so this has been a bold step worth emulation. Often, art galleries put up only the work of artists who have already made a name. But some effort is also needed to project into public space the not ‘knowns’, for the good reason that only thus can they receive critical notice and their statures as artists mature and grow in height. This is especially so at a moment of time when the larger circulation media – the newspapers – have ceased to write about the arts. Thus a volume like this, introducing no few ‘dark horses’ to the general public is of much utility in serving the overall cultural scene. It may, especially, help those who do not know how to go about looking at paintings, and have perhaps certain prejudices which put blinkers on their understanding, as then easily deter them from seeking further into the territory of art, and perhaps even delude them into thinking of artists as ‘queer fish’ who are best left alone, while the sane people look after the workaday job of life. The information compiled in this book shall surely enlighten them that the arts reflect the contemporary environment of social life and thought and that a proper understanding of those depends upon the ability to appreciate the qualities of modern designs that are common to all spheres of the life of a growing civilisation. Thus the reader’s appreciation of patterns and designs could be educative of his sensibility. Tall stalwarts, like Ram Sutar as much as the youngest of the artists via this compilation directory could equally serve to expand the creative and critical faculties of its prospective perusers. Keshav Malik Fellow, Lalit Kala Akademi New Delhi

About the collection Woman’s Era has been at the helm of highlighting women, their lifestyles and family since 1973. Though times have changed, Woman’s Era has recognised that most of the major problems of life don’t. Rather, their solutions have to be modified to suit the changing canvas of the Indian society. This is also in sync with what its founder Vishwanathji (1917-2002) envisioned. In the light of these concerns, the magazine has evolved to be better equipped for its readers. Now, the readership is 10 lakh plus as per the latest surveys and it remains to be the best-read women’s magazine by women. Certainly, Woman’s Era remains a magazine for women rather than about them. The magazine covers a wide variety of topics for its discerning readers, art and artists being a part of it. Every issue celebrates them, hence the birth of The Lexicon Collection. Which singularly recognises the endeavour to leave an imprint on society. The Lexicon Collection is compiled by Divesh Nath, the managing editor and publishing director of Delhi Press Magazines’ Woman’s Era and Alive. He is also the founder of MassCoMedia, which is a mass communications education facility and a media infrastructure company providing the latest media education for the newage journalists of the country.

Why the collection? The Lexicon Collection is a repertoire of art. Its genesis lies in the fact that art needs to be broad based, depictive and is enabled to display hues of a civilisation, and not just an era. The collection has some of the leading artists of the Indian contemporary art scene as well as some who are not so well known today. They will become famous too as time and the dimensions of art expand. The Lexicon Collection’s objective is to become a repository of different art forms from all over the world and it just so happens that it has begun from India. It’s a continuing exercise into the collection of good art, which has a recognisable message and represents hues of our civilisation. At the moment, the collection has attracted over 400 pieces of art and continues to attract more. One day, the collection may travel to places all over the planet and make a visual impact in the minds of connoisseurs and others. They will see the various themes, which are of rural India and urban India. The collection is not about the deprivation of human beings and other negative aspects of human life. It celebrates life. Hence, the colours of the canvases, poses of the sculptures and the other art forms are lively. It by no means, implies that the collection does not recognise the other side of life, but in contrast, it showcases what happens when the clouds pass over. The Lexicon Collection welcomes you to a showcase in its First edition. Here is a collection from 101 contemporary artists, who are arranged in no real order. All the artworks are the editor’s pick, and an interaction with the creators determined the choice. A hearty welcome to The Lexicon Collection.

From the compiler’s desk: Dedications The book is dedicated to my grandfather, Vishwanath (1917-2002), who was the founder of Delhi Press Magazines. His teachings, vision and the love for good art revolved around me all the time. As founder of Delhi Press Magazines, he envisioned very early in his life that he would run the largest printing press in India and give millions of readers all across the world his thoughts. He did. VS Naipaul in a complete chapter called Woman’s Era, in his book India: A Million Mutinies, speaks about my grandfather’s undeterred vision to making Indian society free of obscurantism. This book is also dedicated to my father, Naresh Nath (1944-2008), the managing director of Delhi Press, who inspired many creations from the concept to the finish. He established very large, state-of-the art printing presses. He also edited the publication Suman Saurabh which is very popular for its informative knowledge base amongst the adolescents. One of his creations is a company called Pramod Engineering, which builds binding machines for the publishing industry. He was the founding chairman and the ideological pillar in the making of MassCoMedia, which is now a premier mass communications company. The book is further dedicated to both my grandmothers – my nani, Saroj Rani Jain, who was the person who brought me up and nurtured values of hardship and hard work, relentlessly in the pursuit of a goal. It is equally dedicated to my dadi, Sneh Prabha, who was a co-builder of the Delhi Press Magazines along with my grandfather (fondly called Babuji) and taught that nothing is as difficult as it may look when one first sees it. She was an embodiment of wisdom and cherished working all her life. It was her passion for work that was the greatest gift and education to everyone in the family.

Divesh Nath

The Lexicon Collection

B C

D A. Mahatma Gandhi B. Trimurti C. Indira Gandhi D. A sculptor of Khajuraho

SCULPTOR OF MONUMENTS IN BRONZE Depicting characteristics of great heroes.

Ram Vanji Sutar Designation/Profession: Professional Sculptor Education/specialization: Diploma from Sir J. J. School of Art, Bombay, Mayo Medallist. Prizes, Awards, Honours: Padmashree award 1999; Received 3 prizes from Bombay Arts Society, Bombay; Received Mayo Gold Medal in 1953 in Sir J. J. School of Arts; Received prize in portrait competition 1975 conducted by All India Fine Arts and Crafts Society, New Delhi; Award and Honour by Sahitya Kala Parishad, New Delhi. Membership: President of All India Fine Arts and Crafts Society, New Delhi; Member of All India Sculptor’s Forum, New Delhi; Member Lalit Kala Academy.

culptor Ram V. Sutar is a master at creating giant sculptures. His works grace platforms in public spaces not just in India, but all over the world. Known for his record number of sculptures that grace the Parliament Building, New Delhi, it includes the mammoth sculptures of Gandhiji in meditation pose. Gandhiji made by him are installed in more than 50 countries and he has several orders in his commission book for more. This septuagenarian sculptor, has been making sculptures ever since he made his first sculpture in 1947 at the age of 22 years, and graduated from the J.J. School of Art Bombay, in 1953, with a gold medal. Excerpts from an interview: What is the prime concept that you keep in mind in order to create such lifelike sculptures, particularly of our great leaders? My work is a depiction of a two-dimensional image into a lifelike form. Hence I try to show the personality of the figure through my sculptures. For instance, after reading about Jawaharlal Nehru and studying his photographs I came to the conclusion that he should be shown as a thinker. Similarly The Lexicon Collection

Shivaji, was a warrior and I have shown him as a powerful personality. I portrayed Indira Gandhi as an independent personality who walked with courage and convictions, ‘Ekla chalo re’. How do you personalize so many sculptures that you have created on the same personality, say Gandhiji? That is partly my technique. It is the kind of texture or strokes that I give to the finished piece that defines my individual style. The fine study of muscles, facial expressions brought out in a sculpture makes a Ram Sutar sculpture. Why did you take a fancy to doing such large public spaces sculptures? Large monumental sculptures like the Statue of Liberty, the Mount Rushmore sculptures In America and the Mother, in Russia, fascinated me since my childhood. I also have the ambition to make world’s tallest sculpture if given a chance. Which is the biggest sculpture you have made and where is it located? The first monumental sculpture that I made is

Gandhiji with two poor children

located on the banks of the Chambal river at Gandhi Sagar Dam, Madhya Pradesh. It is a 45-foot high Chambal monument depicting brotherhood made from a single monolithic concrete block. It was done in 1960, with a budget of just Rs 10,000. Can you recount what were the processes that went into making that first venture? The monumental sculpture at Chambal is a unique piece of art. I wanted to make a meaning full befitting monument at the dam. After visiting the site I suggested to the organizers that the dam is so big that we should make at least a 45 feet high statue. I requested the organizers to provide me cement concrete and that I would like to create a huge concrete block and the chisel out the same to make this sculpture. The department agreed. I created a huge 45 feet high block and carved out a lady figure depicting Chambal river as mother and two children depicting Rajasthan and Madhya Pradesh. Both the children are shown clinging to her with love. Water falls from the Ghada held in Chambal Devi's hand depicts the water given by the Chambal river to both the states. It was a very meaningful concept and was liked by

Chambal Devi

Pt. Jawaharlal Nehru

everyone including Pt. Jawaharlal Nehru, who inaugurated the dam. What is the most memorable sculpture that you have created of Gandhiji? I have always imagined Mahatma Gandhi as a Messenger of Peace, not only for India but for the entire world. The sculptural composition shows Gandhiji with two poor children, a boy, and a girl, depicting his love for the downtrodden as his very own. The boy is shown holding a pigeon and the girl is holding flowers. Here Gandhiji is shown on a globe representing earth depicting that this message is for the entire world. And a ribbon running across has his eternal diktat: “My life is my message.” Where have most of your works been displayed? Sixteen sculptures, made by me are displayed in the Indian Parliament, New Delhi. Mahatma Gandhi statues made by me have been installed in more than 50 countries including USA, Canada, various European countries, Russia, Japan, Australia, and Africa. In the last three years more than 100 artworks made by my son Anil and myself have been installed in Lucknow. The Lexicon Collection

Indira Gandhi

What is your favourite material for creating sculptures? My first and only choice is bronze, as my works are meant to be displayed in public spaces. This material is everlasting and has a lovely patina as it ages. It can withstand the vagaries of the weather without losing its innate feel. How long does it take from conceptualisation to completion in making a sculpture? As my works are completely realistic, and they have to be cast in bronze, a sculpture can take anywhere from 6-8 months. What is the success mantra that you would like to pass on to younger sculptors? Practice sculpture with live models to get perfection in their work. I have been able to make more than 200 sculptures till now because of my patience and perseverance and the goals I have set in my life. I have never gone after money but always wanted to have opportunities where I could do my best even if I had to work for free. People have appreciated my dedication and that’s how I am ■ here today. 19

Vijender Sharma with APJ Abdul Kalam

Pratibha Patil with Vijender Sharma

A. Yoga-bhoga and clown B. In deep meditation C. Lust for life D. Love is our religion

STROKES OF DUALITY The artist dons many caps with ease.

Vijender Sharma Qualification: M.F.A. (Painting with distinction, Gold Medallist) from college of Art, New Delhi in 1990. Shows: More than 60 Group shows, 12 Solo shows and 18 Camp shows in India and abroad. Awards: 1986 Sahitya Kala Parishad, New Delhi; 1987 All India Police Meet, New Delhi; 1990 Pt. Ravi Shankar Award (College of Art), New Delhi; Yuva Mahotsava; Sahitya Kala Parishad, New Delhi; AIFACS, Delhi; 2003 Artist of the year, Harmony show, Mumbai. Collections: India and abroad Ph: +91-9810038501, +91-11-43021499 E-mail: vijender_artist@rediffmail. com website: www.vijendersharma.com

ijender Sharma has a unique multifaceted personality. Who is he? A viewer may well wonder as he stands entranced before one of the artist’s enigmatic paintings, and the truth is that the man dons many caps with ease. Aptly described as a soldier-saint-artist, Vijender Sharma with consummate skill manages to create a harmonious blend of thought, technique and innovation and pour it into his amazing works. Very rightly he has been described as ‘the David Copperfield of the Art World’. Though seemingly simple, his paintings on closer scrutiny, offer hidden messages, secret ironical touches or a deep meaning of existence itself...all of which have won him praise and awards from across the world. Not only has Vijender Sharma been felicitated by reputed artists, but he has been honoured by dignitaries like the Indian Presidents Srimati Pratibha Patil and Mr APJ Abdul Kalam (who specially requested the painter to make his portrait for Rashtrapati Bhawan), famous film personalities like Amitabh Bachchan and Dilip Kumar, industrialists like the Ambanis, the Goenkas and the The Lexicon Collection

V.C. Burman of Dabar family and many more notable personalities who have been won over by his artistic skills. There was a time, not too far back when he painted book covers and posters, and then a time too when he was assigned the task of making paintings for TV serials like Vikram aur Vetaal, Mahabharat and Ramayan ....but then acclaim came thick and fast, with most of his paintings being sold nowadays at handsome prices. Vijender Sharma had arrived. Recognition and fame sit lightly on Vijender Sharma’s shoulders. This son of a policeman is untouched by the dizzying heights he has risen to in the art world, remaining courteous in speech and unassuming and modest of manner. Excerpts from an interview: How much has your family background contributed to your phenomenal success as an artist? No one in my family has shown any inclination towards art although I from childhood was fascinated by it. I belong to a middle class family. My father worked in the Police Department. In the beginning, although there was some understandable hesitation from my people to

Flower and Mirror

accept my devotion to art, none disapproved or was hostile towards my choice. Is painting at present your complete occupation? I not only paint and draw, I also create sculptures. Writing poetry is another passion, and music too entrances me. Everything I create is a reflection of my life’s experiences. At the start, I toyed with the idea of joining the Forces, and then I felt a strong urge to become an ascetic and lead the life of a sanyasi....but then, it is now art which occupies me completely My creations manage to bring about this synthesis. If one reflects a little, it is apparent that there is no real disparity between the sanyasi and the soldier. Both are constantly dealing with and accepting the events of life and death...and both are seeking answers---one on the spiritual level and the other on the physical. My affinity for the defence forces has infused me with an inner strength and resilience and my spirituality has blessed me with a philosophical bent of mind which has helped me tide over personal trauma. Just six months after my younger brother Surender Pal Singh’s demise, my father too

Illusion to Enlightenment

followed him. Indeed, a few weeks later I held a show of my paintings in Delhi inaugurated by former President Dr APJ Abdul Kalam. Have you been inspired by other artists? I do get pleasure in viewing the works of artists like Michelangelo, Salvador Dali, Husain, Ram Kumar, Rameshwar Broota and others, but this does not mean that it makes me want to imitate them. It is simply like taking pleasure in listening to melodious music. My art is my own and inspired by my own feelings. What media do you use for your paintings? I use a variety of media...oils, water colours, acrylic paints, crayons and many other things which help to create the effect I wish to have. How would you describe your paintings? Figurative and realistic but in a contemporary and creative manner. My paintings seem so real that the viewer wishes to touch them! In my work titled Gandhi Never Dies, I have been praised for making the rose petals which fall from the Mahatma’s wound look so very real. I paint The Lexicon Collection

Vijender Sharma with M F Husain

wrapping and ropes on packages which people attempt to untie not realising these are painted! Another unusual technique I use is to paint the frames of my paintings as well...and sometimes my paintings spill out of the frames, creating a threedimensional effect. All my ideas come to me from deep within my being...Often I meditate and then slowly far away in the open skies, I see forms and compositions.... All that I can say is that I react to my surroundings. I paint only when my inner voice tells me to do so. Do you feel a sense of loss when you sell a painting? No, for after all, it feels good to have your work appreciated and bought by other people. An artist is a creator and he does not like to horde his work. In the very beginning, my paintings were sold for a small pittance but now these command lakhs of rupees. Art is a costly occupation and having money helps. Earning money gives me freedom to buy better quality materials. With the patronage of art lovers like Tina Ambani and V C Burman of the Dabar family, Vijender Sharma is looking forward to holding exhibitions all over the world in ■ the not so distant future. 21

B C

Temptation-VI D A. Temptation -I B. Temptation -II C. Temptation -III D. Temptation -IV

THE BEAUTY OF NATURE

“I want society to accept the truth that lies beneath the relationship of man and woman,” says the artist.

Badal Chitrakaar He is an experienced artist with multiple dimensions, having worked for nearly 47 years and has continuously painted upto even 22 hours at a stretch, for 6 months, while in the USA . For the young generation, he wants to say, “Do your work honestly and that is your best contribution to your motherland.” Shows: Many Group shows and Solo shows in India and abroad. Collections: India and abroad Awards: He was awarded by Elizabeth Bacton, USA ; G.D. Tapase, the Hon’ble Governor of Haryana; he has also been felicitated by Dr Shankar Dayal Sharma in 1992. The President Dr A.P.J. Abdul Kalam cited Badal as ‘A Great Person’ for his art works. Mob: 9873414480

adal as the first part of the name ‘Badal Chitrakaar means, denotes ‘cloud’. It is a befitting prefix to this chitrakaar (painter) as he is an artist with no boundaries. Now, in his sixties, he wants people to associate themselves with art as it brings everyone close to nature. Known for painting of Mahatma Gandhi dine with human blood on a canvas, the artist attempts to explore different circumstances of life with the essence of reality. This dual aspect presents an interesting exposition. Banwari Lal, as his real name is, has been painting since his childhood. At the age of 16, he joined an advertising shop as a trainee painter. Here he got an opportunity to visit Amritsar with his guru where he did his first assignment. It was an advertisement for Atlas Cycles. He has done all sorts of works in this painting line. In 1977, he made a portrait of Mahatma Gandhi with his blood which was widely acclaimed. Excerpts from an interview: How do you describe your artwork? It is difficult to describe about my artwork in a

The Lexicon Collection

few lines or words as every object and emotion that deeply and sincerely stir me suggest a host of new ideas, themes and images for my work. And I know of no greater joy than to see on my canvas the beauty of my own thoughts. Whatever I feel, I translate into a new theme and put on my canvas. My artwork can be categorised as realistic, figurative, and abstract inspired by beauty of the nature and spirituality. I believe in expressions to express my inner self. Your paintings mostly have female forms, what are you trying to depict through them? My paintings are based on the relationship between men and women. Whatever is hidden inside me comes out with the stroke of a brush and flow of colours. Everything should be transparent. I want society to accept the truth that lies beneath the relationship of man and woman. Working with the female form, my paintings are about metamorphosis , where shapes and colours subtly fuse, creating a sensual atmosphere upon the canvas. Within these transformations is an exploration of women’s relationships with men. The forms push and pull, intimating questions

Temptation-V

about women and hinting at the tensions that can exist between beauty, image and society. Do you use symbols also? Instead of symbols, I use folds and ribbons in my abstract paintings based on relationships. These folds and ribbons subdue the transparency. Why are colours necessary for humans? What sort of colours dominate your paintings? Colours are a very important aspect of a painting and I just enjoy colours. In a sense, I liberate them from the necessity to ‘mean something’. You can see all the colours of life on my canvas. If we recognise the colours infused in our souls, then life would be beautiful. Bright and vibrant colours often dominate in my paintings as life is a kind of celebration. What are the subjects that you like to create through your sculptures? My sculptures represent the pain and harassment of women who, in spite of facing ill behaviour all through their lives, bestow love and affection. In my work society is reflected in every form.

What are the materials you use in sculpture? I use clay, rough or waste material. Clay has flexibility and is a good medium to express oneself. How do you consider painting as a medium of self-expression? It’s simply the best medium for me to express the narratives, human emotions, lyricism, energy, the drama, tensions, and juxtapositions of feelings and colours. Paint is where my passions lie and a medium I best understand, to create a new language that can surprise, inspire, excite, energise and uplift the viewer as well as form. It is part of an investigative journey for my own internal feelings and outward expression. How has been the journey in art for you? It was tough and full of struggle, but today I am extremely satisfied and to ready to continue this journey. I am teaching to students. I am doing this for the sake of art, not commercially. Where do you see your art going 10 years from now? For every true artist, his best work is always the The Lexicon Collection

next one. I feel I am still in the process of creation. I find an improvement in every new work I create. I cannot tell which direction my art will have taken 10 years from now, but I am certain that my individuality will remain the same. Tell us something about the current collection you are working on. Currently, I am preparing for an exhibition based on the fusion of reality with modern art. What is the present scenario in the field of art? People are doing painting for the sake of enjoyment and they are not serious about it. They just want to earn money, and are putting colours with no aesthetic sense and emotions. This cannot be defined as an art. Art is a blend of expression and creativity and both the aspects are missing these days. Are art galleries helpful in the development of art? Today, the world of an artist is expanding and for that he needs a platform to show his talent. I think art galleries are really helpful in the promotion and expansion of art. ■ 23

B C

Divine music

D A. Rhythm B. Sacred Flute C. Devotion D. Welcome

Ram Kishore Yadav Qualification: Graduated in Commercial Art from College of Art, Delhi. Works: Worked as an Art Executive in D.A.V.P. of India, New Delhi. One man exhibitions: Held 70 exhibitions in India from 1970 to 2008, including 13 one-man exhibitions abroad, from 1984 to 1997. International participation: Participated in 7 international art competitions. Awards: Awarded 13 National and International awards. Honours: Achieved 7 honours, including Uzbekistan Art Academy Award, Tashkent. Ph: 9350275503, E-mail: rky_in@yahoo.com

A MATTER OF DEEP CONTEMPLATION

Chant

Efforts are required to promote art at the grass roots level in order to create an ambience conducive to the advancement of art, feels the artist.

rt is a matter of deep contemplation. It cannot be, as such, taken for granted. The irony is that many misconceptions surround art. The biggest among them is that only the weaker students go for art studies. So, first of all, it is imperative to remove all these misconceptions. Only then will we be able to create an ambience for art to flourish. These are the views of noted artist Ram Kishore Yadav, expressed by him during an informal conversation at his residence in a posh south Delhi locality. About good art, he opines that art as such, is neither good nor bad. It is actually the taste of the beholders that categorises art. However, an artwork having a clear concept, artistic view and originality, will appeal to all alike. But the problem is that in order to gain quick success, many an emerging artist forgets this basic tenet of art and begins to copy the work of great old masters. This should not be encouraged at any cost, as this practice would earn a bad name for Indian art in the international market. Yadav gives a hint about some great artworks, The Lexicon Collection

which may be useful for emerging artists. Connectivity with the soul is a must if an artist desires to create a good piece of art. An effort made half-heartedly would take him nowhere. Plus the artwork too, would appear horrible. Then, continuous observation is the trait that every artist must cultivate and strive to possess. Keen observation continuously feeds one’s soul, which then churns out various subjects thus received, in order to sort out the pearls from them. Only when an artist goes through all these stages does he produce something original. But what is the use of taking so much pain when a lack of awareness prevails in our society about art? This thing equally pinches the artist also. But he feels that growing commercialisation and glossy art galleries have a bigger hand in creating this situation. Although art has always carried a mysterious air around it, it is only now that art has become a valuable commodity, scaring away common people from art. Earlier, there used to be a concept of public art that enabled even the commoners to enjoy fine art. Royalty and principalities would patronise art for the public’s sake.

Divine flute

Art patrons are still there, but objectives have changed. It is being patronised by rich people, who take art as a lucrative investment alternative. It is this trend that has given birth to so many copycats in the art field. They are lacking in originality and want to grow rich and famous through short cuts. Unfortunately, media is also playing a significant role in promoting such copycats. On how an artist can refine his artistic skills, R.K. Yadav says that an artist should first cultivate a love for art. It will lead to forming a deep-rooted relationship between an artist and his art. Then, there are many stages of learning also, that an aspiring artist should undergo. Many artists begin to do modern art as soon they learn how to draw. But in actuality, modern art has its basic tenets, which not all of us understand fully. In fact, modern art is more difficult. It is a visual language that all want to gain mastery in, but only a few succeed. This is also one of the reasons why so many copycats are getting into the realm of modern art. Yadav is a widely travelled artist. As such, he is in a position to shed some light on the level of awareness about art in various countries. Relating his experience in the USA, he said that once in New

Jersey, he was invited to a party hosted by a doctor family of Indian origin. All the invitees were also doctors except him, who was an artist. The hosts introduced him to other doctors as an artist. They fully appreciated his profession but showed little interest in his artworks. Interestingly, the artist could not find even a single piece of artwork in any of the homes of Indian doctors he visited during his stay there. Without doubt, professionals of Indian origin working in America are living a decent life. But they are apparently not interested in buying artworks. In comparison, he says, Germany is a more art-loving country. In that country, one can find crossings, squares, streets and roads, etc. named after famous artists. Back home, in India also, a general apathy prevails towards art. No efforts are made to promote art at the school level. He relates an incident from a tribal area of Maharashtra , where children were being taught in a hermitage. During his visit to the hermitage, the artist found that the children could draw well. He slightly encouraged them to draw better and even guided them. The result was astonishing. Later on, the artist invited The Lexicon Collection

Celebration

Worship

those tribal children to Delhi and organised a group show of their paintings, without any financial help from the government or otherwise. Needless to say, the show was successful and the sale of paintings even fetched a handsome remuneration for the children. Since then, art has become a regular subject in the children’s education at the hermitage. The artist is ready to repeat similar experiments all over the country, circumstances permitting. But similar efforts are required to be emulated at all levels if we have to create an art- positive ambience in our society, as it is the liveliest kind of medium for self-expression. Themes and subjects of R. K. Yadav’s paintings take the viewer on a tranquilising journey. In fact, music as a theme permeates through all of his artworks. Then there are astronomical symbols. In the view of the artist astronomical symbols and music bear a striking analogy with his paintings. Music was created at the time of the birth of this universe. Hence, it pervades the entire universe. Humans, being a part of the universe, find great solace in music, which is essentially an expression ■ of the universe. 25

B C

D A. Fantasy-I B. Melody in blue C. Reminiscence D. Fantasy-II

POETRY IN ARTISTRY The artist prefers to call his paintings dreamscapes.

Jagadish Dey Qualification: Graduation from School of Art, Delhi Polytechnic (now College of Arts) New Delhi; Taught in College of Arts, New Delhi, 1965-2002 Shows: Solo shows in Delhi, Mumbai and Kolkata Organised first Group show ‘The Six’ with five of his classmates in 1961-62. Since then, has been participating in Group shows regularly. Also has been gracing international-level art camps with his presence. Awards: 2008-2010 Art camp at Goa; Ashoka Hotel, New Delhi; Art Mall, New Delhi; Art Camp at Kashmir by D. P. Dhar Trust Kashmir; Art Camp at Coorg. Collections: India and abroad. Mob: 9818055931, E-mail: jagadishdey@gmail.com

he artistic journey of veteran artist Jagadish Dey spans more than five decades. His paintings have all the elements of nature depicted in the same intensity as they used to be in the very beginning, that is, during the late 50s and early 60s. Jagadish Dey hails from that part of Bengal which now forms Bangladesh. When he was a child his family migrated to Assam, where he spent most of his time wandering amidst the lush green valley of the mighty Brahmaputra river. The town of his residence, Pandu, was scenically located near the river and surrounded by verdant mountains. On one of these mountain peaks is located the famous temple of Devi Kamakhya. The artist still cherishes the memories of these mountains and valleys and the river, which appear regularly in his paintings, like a sweet reflection. Later on, his passion for art brought the artist to Delhi at the age of 16. In Delhi he pursued his art education at the School of Arts, Delhi Polytechnic (now College of Art) and came in contact with a number of prominent artists like Professor B. C. Sanyal, Sailoz Mukherjea, Somenath Hore, K. K. Sen, The Lexicon Collection

Professor Dinkar Kaushik, Biren De, Jaya Appaswamy, Dhanraj Bhagat, Professor M. L. Datt Gupta and Rajesh Mehra, who were then the members of the faculty. Besides them, the artist also enjoyed close association with Abani Sen, who helped him realise several new facets of life and art. Umesh Verma, Manjit Bawa, Gokul Dembi, Neelmoni Chatterjee and Durga Prasad were the artist’s colleagues at the polytechnic. They are all prominent artists today. Together, these six artists organised a group show titled ‘The Six’ at AIFACS. The show was greatly appreciated by the senior artists and media. Jagadish Dey is fond of poetry. He creates poems in colours on the canvas. A particular stanza from William Wordsworth’s poem – I wandered lonely as a cloud, That floats on high, o’er vales and hills. When all at once I saw a crowd, A host of golden daffodils. Beside the lake, beneath the trees, Fluttering and dancing in the breeze…’ very well summarises the whole journey of his life. This poem inspires him to explore his inner self. The more he delves within his self, the deeper his

Cosmic symphony

bond with outer nature becomes. Subsequently, a stage arrives when the artist begins to dream with open eyes. This stage is the beginning of a new creation on the canvas. The canvas is thus a window to show the artist’s reflections. That is why he prefers to call his paintings dreamscapes. This process of self-exploration had begun 50 years ago and continues even today with the same fervour and zeal. Every decade in the artistic journey of Jagadish Dey presents a unique stage of distinct styles. In the 60s, the artist began a quest of discovering something new. His paintings mainly involved simplified landscapes, which gradually developed into images of the grotesque. During that period, the artist joined the College of Art as a faculty member. In the 70s, the artist started moving towards some sort of surrealistic tendencies and fresh transformations began to appear in his works. The 80s also saw gradual transformation in the artist’s works. Fluffy mushroom-like forms began to replace the vases and clouds. The artist passionately called those forms wild flowers, which appeared in transformed landscape, sometimes

Jugal Bandi

emerging from the womb of a mountain or water body. These pure dreamscapes formed the essence of the artist’s work for a long time. Gradually, however, these mushroom forms too, transformed into semi-fluid human figures as the decade progressed. These semi-fluid humans can still be found suspended in air, generally behind the Nayak or Nayika in some of the artist’s recent works. During early 80s, the artist began working on various printmaking processes. During this phase, the artist had the opportunity to work with Prof. Paul Lingren, then Director of the Smithsonian Printmaking Association, Washington DC, at a workshop in Delhi. Later on, he also worked with Prof Krishna Reddy in a separate workshop organised by Lalit Kala Akademi at Garhi Studio. Now in his late 60s, but juvenile in heart and action, the artist is trying to discover the harmony between man and nature. He has a long teaching stint at the College of Art from 1965 to 2002. Even today, he identifies himself more as a teacher and says learning is not a time-bound process, but it continues lifelong. According to him, humans are becoming oblivious of nature, thanks to stressful The Lexicon Collection

modern lifestyle and cut-throat competition. In his paintings one can feel the super serenity and pindrop silence. His recent paintings bring the viewer closer to nature and his inner self. Peacock is a regular element and generally appears in his paintings like a messenger bird. Often it looks like a communication between two loving hearts and sometimes it appears like a mute spectator hypnotised (spellbound) by the tune of the flute player. The artist beholds the peacock as a symbol of an endearing image trying to create harmony. During the past decade, the vase has started reappearing in Jagadish Dey’s paintings. The artist maintains that it was not a conscious attempt. Instead, it was a gradual development. The artist says, “The vase does not epitomise any object, but symbolises a culmination of numerous desires that take shape in my paintings.” One is also likely to notice the presence of sculptural and architectural forms in some works of the artist. About them the artist says, “The sculptures are synonymous of an era gone by but now abandoned by the fast moving materialistic generation of today. The sculptures represent an era of simplistic beauty and the simple joys of life.” ■ 27

B C

D A. Colours of nature B. Some moment C. My neighbours D. Beyond time

AN ACT OF FAITH The journey of art through eternity.

Nand Katyal Qualifications: Fine Art, Delhi Polytechnic, New Delhi, 1961; Actively involved with the ‘The Unknown’, a small group of artists from Delhi School, 1960; Art teacher, 1963; Art Director, Span Magazine, 1963-1995; Secretary, Delhi Silpi Chakra, 1963-67; Director, 10th Triennale India, New Delhi; 2001 and part of the five member jury for the National Awards, Lalit Kala Akademi, 2004. Shows: 13 Solo shows in India and abroad. Awards: National award in 1995 Felicitation, 10th Rashtriya Kala Mela, New Delhi, 1997 Mob: 9868222095 E-mail: nandnow@gmail.com

he younger generation in the metropolitan city of Delhi may not have heard the name of Chamanganj. Chamanganj is the name of a dwelling located in the heart of Old Delhi, near Roshanara Bagh. During the Mughal period, this place enjoyed the patronage of Roshanara Begum, the daughter whom the Mughal Emperor Shahjahan doted on, and who was a great lover of art. A large number of artists thrived under her patronage about 400 years ago. It was in Chamanganj that the family of Nand Katyal had settled when they had come to Delhi from Lahore, after Partition. He was then around 12 years of age. Those were very trying days. But perseverance and the sheer will to do something creative kept Nand close to painting. His father, Ram Lal Katyal, was himself a painter. This gave Nand an exposure to art materials and the art circle of Lahore at an early age. After his schooling in Delhi , he joined the Delhi Polytechnic. At the polytechnic, Nand and his batchmates – Arpita Singh, Paramjit Singh, Rajinder K. Dhawan and some others – as well as students senior and The Lexicon Collection

junior to him, were also aspiring to do some more significant work on the theme of nature. Their flair led them to form a group ‘Unknown’ in 1960 and start exhibiting their works, which were noticed. During one such exhibition, Nand came in touch with the American Center and joined their magazine Span as the art director. His association with the magazine for many years is well known. Nand has also excelled as a designer, illustrator and portrait painter. He still does portraiture for his own contentment. At his studio in the Garhi Village one can find some fine portraits of interesting characters. Nand’s paintings are of a narrative nature. Through these paintings the artist recounts his experiences of being in Delhi for over six decades. At times, he revisits those places where he had spent his childhood and youth, such as the Chamanganj locality of Roshanara Bagh, Qutub Minar and even the banks of the Yamuna River. Renderings of his works are superb, as they do not limit one’s perception of the forms created. Nand Katyal is a widely-travelled artist. His favourite destinations are the hilly tracks of the central Himalayas, like Rishikesh, Mana (near Badrinath), Gangotri, Harshil and Bhojwasa.

Colours of nature

According to him, every time he visits these places something invigorating fills his entire persona. Being an artist, he has devoted an entire series of paintings to these places, which invoke a divine feeling. The hills, rivers, tributaries, fountains, rocks, pebbles and paths in the woods, all come alive in consonance with the different moods of nature in a most spectacular way. Nand continues to compare the Delhi he had known in his youth with the Delhi of the present time. The din, the snarling traffic and frequent jams, the confusion, the aggressiveness and violence disturb him. But the trees, the gardens and the memories of the hills make him happy and he rejoices in their colours and sounds. The roars of rivers and the darkened paths of woods are joyously present in his canvases in some form or other to give a pleasing experience to the viewers. His works on life in New Delhi, now a metro city, are often juxtaposed with serene images of hilly terrains. Thus, ultimately, his brush strokes leave a lasting impression. His favourite shades of green, red, yellow, crimson, brown and orange continue to mesmerise the viewers. The swift and sure movements of the

brush strokes, the counterposing and mingling of colours, the cool, and warm tonal variations of the pigments, the textured intent of the forms, all contribute towards the richness of each and every work. The feel of the natural elements of fire, water, wind, ether and the earth, is deeply ingrained in his works and as and when they mark certain areas rather overtly, one responds to them almost spontaneously. One peculiar feature of his paintings is that scenes of sunrise and sunset are not painted directly, but are evoked through colours in a fascinating manner. He has once stated: “Painting to me is an act of faith, of the understanding that life is always much more than what it appears to be at any moment.” Undoubtedly, he strives to squeeze something worthwhile from this ‘much more’ side of life. With his vast experience in drawing, sketching, portraiture and illustration, Nand has developed into an artist naturally dexterous in all his creations. And it is not surprising that no conscious effort to create something is visible in his works. Their expression is constant and conspicuous in emergence. The way the forms gradually crystallise The Lexicon Collection

Awareness

in the viewers’ eyes and minds is a testimony to the commitment the artist has for the very process of painting. Even today, he continues to work on paper in his sketch books. His romantic renderings of sketches and drawings in pastel and charcoal are a treat to watch. Nand seems truly immersed in his dialogue with colours and the art materials he uses. Be they oils, acrylics, pastels or charcoal and pencil, on canvas or paper, he acts with superb deftness, ease and a certain exaltation. The pastels specially, have always fascinated him. The use of oils and acrylics together on canvas, and their sheer compatibility, is also worth noting. Recollecting his vast background, Nand reflects: “Over the years, I have become more responsive to the painterly and plastic qualities of the works. I am definitely enjoying the thickness and thinness of the colour on the tips of brushes and its application on the canvas. The manner in which a certain colour distributes itself on the canvas and begins rewarding the creative journey, is absolutely enchanting for me.” These are modest words indeed, coming from a ■ painter of the calibre of Nand Katyal. 29

B C

D A. In a playful mood B. Veiled women C. The tough floor D. Both humans and birds need a clean environment

B & W BEAUTY An artist with multifarious talents.

Manju Narain She has been trained under Rameshwar Broota at Triveni Kala Sangam New Delhi. She has participated in the annual exhibitions of Sahitya Kala Parishad and AIFACS regularly. She received a commendation letter from Sahitya Kala Parishad and was awarded by AIFACS. Shows: 15 Group shows, seven Solo shows in India, four Art camps. Collections: National Gallery of Modern Art, External Affairs Ministry, LKA, India and abroad Awards: 1999 All India Fine Arts and Crafts (AIFACS), New Delhi; 1992 received a commendation letter and cash award, New Delhi. Ph: 011-24357227, Mob: 9810063595 E-mail: manjunarain@rediffmail.com website: www.manjunarain.com

elhi-based artist Manju Narain comes from a traditional family with a considerable heritage in the arts. Her inlaws include such acclaimed artists and writers as Sharan Rani, Guru Singhajit Singhji, Sushma Seth, and Maheshwar Dayal. She is an artist with versatile accomplishments. She paints, she draws, she writes shairi, she sings classical ghazals– and she composes music. It was her culturally rich family background that brought her in contact with music. Since her early childhood, she had been receiving music training under the guidance of able ustad in vocal classical music, the late Sarfaraz Hussain Khan Saheb of the Sahaswan Gharana. Ever since his demise she has been under the tutelage of Ustad Ahmed Hussain and Ustad Mohd Hussain of the Jaipur Gharana. While she was learning music, the artist in her inspired her to make an appointment with paint and brush. Since then, her journey in art continues even today along with music and singing. Manju Narain has been trained in art at Triveni Kala Sangam under the able guidance of wellknown artist Rameshwar Broota. She is an artist The Lexicon Collection

of high calibre. She does full justice to all the fields she is in. One facet of her artistic personality never interferes with another facet though, she admits, each aspect of her artistic personality does support the other aspect. One can understand the spirit of her words only when one watches her drawings and paintings or listens to her vocal recitals or the music composed by her. Ghazal maestros Ustad Ahmed Hussain and Ustad Mohd. Hussain have sung her compositions in their commercial album Raaz-e-Ulfat, Aah! & ReMan. They have sung her compositions based on ragas Sohni, Malkauns, Bhopali, Bhairavi etc in stage shows. And Mohammad Vakil, who came into the limelight after his 1998 win on Zee TV's Sa Re Ga Ma has given his crystal voice to Manju’s ghazals in his album Guzarish. Manju Narain is a sensitive and introspective artist with a penchant for the unusual and thoughtprovoking image. Within the apparent calm and stillness of her repertoire lie hidden, complex psychological elements of terror, awe and fantasy. Such is the depth of her understanding, both of painting as well as music. Narain carves out her private artistic temperament within the traditional

Sculptor at work

Indian structure of a woman's familial responsibilities. She is a wife, a mother, a grandmother, and a mother-in-law. She plays all these roles simultaneously while finding release in her first true love: art. Noted art critic Keshav Malik has this to say about Manju’s art: “The artist in Manju Narain does not shout at us. It does not mean to seduce our eyes with the gaudy coloured sweets, but purely to present the shapes and designs of everyday reality in their truthfulness. It is our inward eye that is drawn to this order of work rather than the extrovert one.” Her talent brings out a serene and delicate assurance with inward vision, her art is individualised in the best sense of that term, namely that it has been done primarily for herself, and that when even in the form of those figuratives that crop up here and there in the body of her work. But though personal, it is all done with an eye to genuinely experiencing and still it is free of all sentimentality and emerges full of comely feelings. The black and white works of the artist are completely complementary, being counterpoints as they arrest our attention. The alteration of the two

shadings or otherwise build up a kind of controlled visual melody. Drawing is essential to any painter as the knowledge of the anatomy to any draughts-person. Manju Narain has both acquirements. This is what gives a sense of vital unity to her work. Viewers may even discover common objects hidden in her drawings if they happen to look closely, thereby sensing their presence from time to time. Manju Narain’s drawings have good lines and these lines are not just pencil lines but have all sorts of direction or movement – the vital lines of growth, of perspective and the lines formed by the edges and silhouettes. When brought together into a picture, these lines tend to be in a symphony with the main rhythm of the design. This is how her work gains in balance. So the artist’s adventure of visualising is not only concerned with the loveliness or interest of things in themselves, but also with the relationship between them. For this very reason, she exalts the humblest commonplace object or situation or moments of art. The artist's works on paper bear the soft touch of charcoal, pencil, pastel and water colours, depicting strange innocent beings and wistfully The Lexicon Collection

A lost beaver

illustrative fairy-tale creatures, trapped silently within claustrophobic gardens and troubling mazes, as if striving for some means of escape and true expression. That which initially appears as an idyll in her images actually reveals underlying strains of suffocation, albeit beneath an apparent blanket of security. The resultant expressions and mudras often bear elements of anguish, terror, fear and deep pathos. There is a childlike feeling of bewilderment at all the complex intrigues and the deceptions of the world. Manju Narain's attempts to express her genuine reactions and observations are her own personal path towards catharsis. Manju Narain is a staunch supporter, admirer and friend of artists and people of intellectual pursuits. She is a laudable art collector. She has in her art collection paintings of Jamini Roy, Satish Gujral, F.N. Sauza, A Ramachandran, Jogen Choudhary, K. G. Subramaniam, Vijendra Sharma. She runs an art gallery. The benefit of budding artists is supreme in her mind. Her efforts in such an idealistic direction are creditable, particularly when viewed as an alternative lifestyle and thought ■ process within the traditional Indian milieu. 31

B C

D A. Pleasant smiles B. Lovers C. Twins D. A girl with fruits

REFLECTIONS ON URBAN YOUTH An artist who feels that the true depth of feelings surfaces in emotionally moving circumstances.

Mohan Singh Qualification: B.F.A. and M.F.A. in New Delhi. Shows: Participated in several prestigious Group shows, 14 Solo shows and 21 Camp shows in India and abroad. Awards: 1992-93 1st Prize in painting, 1993-94 Merit scholarship, 1994 Awarded Sailoz Mukherjee Award in New Delhi, 1995 award Karnataka Chitrakala Parishad, Bangalore, 2000-2002, Jr. Fellowship, Ministry of Human Resource and Development, New Delhi and 2003 South Asian Friendship Scholarship for Japan. Collections: India and abroad. Mob: 9811029934 E-mail: mohangelo@yahoo.co.in

ohan Singh’s paintings have a sense of trueness and they reflect the image of an urban society and the impact of western culture on it. His works mainly depict the different moods of a modern youth. This talented artist’s work consists of compositions in multihued figurative art, rich in colours, full of energy and sprayed with young people whose fantastic gestures depict individual personalities. A lecturer in the College of Art, New Delhi, Singh is surrounded by young people and chooses to depict their different moods, attitudes and ways of thinking. His works are predominantly figurative with a focus on urban reality, celebrating life, as he weaves incidents and fantasies into his paintings. His social commentary on the prevailing society reveals a pressing need for a deeper understanding of life. Sometimes, he engages with the world of illusions and reality, touching the life and spirit that exist in the unconscious, completely mesmerising us with his colourful visions. Some of his latest works evoke a sense of The Lexicon Collection

renunciation as part of the process of attaining enlightenment. But his claim to it is modest. His liking for colour and reality emerges from his paintings. He breathes life into his images with the stroke of his brush, using gentle colours in his canvases. Through the sheer vibrancy of the images and intensity of colour, emotion and line, the artist creates fascinating images of youth and love, sometimes with an erotic flavour. The artist chooses vibrant and colourful impressions to establish his unique rapport with the viewers. The artist feels that the true depth of feelings surface in emotionally moving circumstances and not necessarily in trying situations. It is the depth of emotions and feelings that separate us from animals and we need to nurture these, rather than curb the apparent need to cry, or express love. Excerpts from an interview: When did you become interested in art? It was since primary school that I developed an interest in painting. I used to participate in art competitions, but as there was no artist in my family, awareness about art was lacking. Then in high school I came to know about the College of

A secret talk

Art and took admission there. From here only I did my B.F.A. and M.F.A. Your style is quite different. How would you like to elaborate about your technique? I use very thick colours and instead of giving smoothness I leave patches on the painting. I have developed this technique over time. Initially at the learning stage we have to work according to the syllabus but after that, one needs to develop one’s own style to maintain one’s individuality. My strokes are bold and expressive and represent feelings. What is your preferred medium? It is acrylic because it dries very fast and gives freedom to work. I had worked in oil colours also. Your main focus is on youth; any particular reason? India ’s 70 per cent population is youth and its future depends on youth only. The irony is that today’s youth is influenced by western culture and it reflects not only in the society but on their thinking pattern also. I am trying to depict the

changes occurring in society as well as the lifestyle of the present-day youth. I draw focus on how they dress up, how they enjoy themselves, dance or gossip… every minute activity of the youth. Being in the college, I get the chance to know and interact with youngsters, and that helps me portray their attitudes more clearly. The youngsters in my paintings not only embody the characteristics of fun-loving people, but can also be seen indulging in diverse celebrations, from music to masked amusements. The depiction of the trumpet held by a boy seems he is amidst the gopis. The tales of love have been in our culture through the ages and continue to be prevalent among the youth. Tell us something about your human forms. My human forms are permeated with a sense of playfulness as they interact with each other in different situations and places, often becoming part of a show that covers the body and the senses. I have introduced a new figure in some of my paintings. It is the ‘thinker’. He may be one of a pair of heads, or just a single one. Or again, he or she may be a lone figure with his or her back to the action. In one of my paintings this figure had the The Lexicon Collection

About a boy

head of an elephant painted on his back. One can surmise this is a visual play to evoke that most famous icon, the Buddha. Your colour has a sense of playfulness; in your view do colours play a substantial role in giving a painting a touch of reality? I use vibrant and bright colours as the life of the youth is full of liveliness and there is no place for dullness. As a youth’s life is full of contrasts, it has instability and lack of steady emotions and feelings; you will find the use of contrast colours in my paintings in abundance. Colours play a major role in giving a painting a touch of reality and also enhance the spontaneity of the theme. You seem to use lots of symbols in your work. Do they echo any message? I paint symbols to depict the deep thoughts of the youth. Symbols are the fine medium of filling the negative space (empty space). I have used masks, birds, turtles, insects, etc. and when you think about them you will realise that somehow they are connected with the life of the youth. Images of the ■ masks symbolise a negative emotion. 33

B C

D A. The followers B. The musical spirit C. The interface D. The old lady

A PENCHANT FOR WOMEN

An artist transforming ordinary, everyday subjects into symphonies in colour.

Prithvi Soni Qualifications: Finished 8th std. and started pursuing art privately with a few experts. Shows: 23 Group shows, 18 Solo shows, 6 Camp shows and many more shows in India and abroad. Memberships: Cine and TV Artists Association Life Member, Mumbai, Association of Motion Pictures and TV Programme Producers Life Member, Mumbai, Jehangir Art Gallery Life Member, Mumbai, Artists Centre Life Member, Mumbai, The Bombay Art Society Life Member, Mumbai, The Film Writers Association Mob: 9820044357

is images of young folk women are fabulously sensuous and are typical male fantasies of feminine beauty. Prithvi Soni’s paintings pursue sensuality in right earnest. They evoke appreciation not only for the beauty of the female persona but also for the culture that bedecks them in their dress and activity. It is in his paintings that he transforms ordinary everyday subjects into symphonies in colour. Also in his paintings he has shown a penchant for women. In his search for the truth, while depicting the human predicament, he shrinks away from glorifying the pathetic or seeking sympathy by emphasising on decadence or drudgery. It was his vivid feel for lyrical colour harmony that made his portraits stand out amongst many others. Today, Prithvi Soni finds himself as a realistic painter. He aspires to reach the position, where M F Husain and Bendre are today, through realistic paintings and also wants to keep singing and entertaining people. He still does posters and banners, but for very select friends, since the work is always needed urgently and he often does not The Lexicon Collection

have that kind of time. He has written a book on his life, an autobiography, which talks about every aspect of his life, from painting to films. Though born in district Bahadurgadh, Haryana, he was educated in Delhi . Excepts from an interview: When did you realise that you are an artist? There was a time when I would see the names of legendary artists and I would think that I would come to such a position when my name would be famous too. I would think that people should demand my work also. I have worked on every type of art – banners, book covers for Hind Pocket Books, calendar designs; you name it. Then I came to Bombay . Here I started designing for films, designing posters, designing get-ups for movies, etc. I would look up to M F Husain sahib. What are the subjects of your paintings? My subjects are the simplicity of Indian beauty and ladies with brave hearts. These are the subjects I have been trying to show in my paintings. Together with that I also take subjects from Indian

The model

classical music, especially instruments. Right now, I plan to start work on the life of Krishna . How do you actually go about the painting? Describe from the conception phase. About 99 per cent of my work is oil on canvas. I conceive the subject first. Let’s take the example of the Radha-Krishna subject I am going to start with now. I was influenced by Krishna ’s flute and then I decided that I will take this subject now. It is close to my usual subject of musical instruments from India and the fact that people and the forest animals were attracted to the sound of the flute. I sketch the subject on small drawing papers. Then I transfer the same to the canvas and start painting. After the final touches, I sign the painting and that is the last stroke of creativity that I give to it. You are currently working on the concept of Krishna. When and how did you get attracted to these kinds of paintings? The attraction for the concept of Krishna is global. His flute attracts me as an Indian musical instrument. Besides, whatever I have done on the subject has been appreciated. My painting has

Sharing of secrets

been bought and has been displayed in Gaylord Hotel in London. Many people gave me commissioned work after seeing this painting. Previously during your time, art was considered to be good as a hobby rather than as a career. Now, things have changed. Your comments. Today, I feel good because art has been given commercial importance due to the publicity that auctions and art events are getting. People feel today that their children also should become artists. You must be watching TV shows, where small children are participating in talent contests of dance, music, painting, etc. They are supported by their parents. Today, there is money and fame in this field. The craze for art has increased. What would you say about the current art scene in India? With more publicity, the art market has increased. At every corner of the road there is an art gallery present. Even a photo frame shop is named as a gallery. There you get the work of duplicate artists. The paintings we sell at Rs. 50,000 and above, will be sold at lesser amounts. As the artists The Lexicon Collection

have increased, so have the shops. For any artist the cost of the one-day events like inauguration with card printing, etc. itself is Rs. 50,000 and above. The waiting list to showcase an artist’s work at Jehangir Art Gallery is 5-6 years. You have to wait for that long. Big artists throw parties with champagne. Things are different for them. Even small artists end up spending 60-70 lakhs for these events. The paintings sold don’t cover these costs. This is not a necessity. Paintings are just investment for buyers. It is not compulsory for them to buy. But when I started opposite Jehangir Art Gallery at Art Plaza , I sold two paintings at Rs 5,000. That encouraged me and I am where I am now, due to it. What is the significance of colour in your paintings? You can’t work without colours. If there is no colour other than black, for example charcoal painting, then also it looks good. See, you need to create some difference between the background and the idea you are trying to depict and your concept to emerge. If someone tells me to use only the red colour, I can do a painting in red. It is not necessary that all the colours need to be used. ■ 35

B C

D A. Eight leaves of the bilva tree B. Couple C. For the sake of the fruit D. From jeevan chakra to the Ultimate

CREATIVE ZEAL IN COLOUR An artist who is inspired by music.

Sher Singh Kukkal Qualifications: Diploma in Fine Arts (Painting) 1960; Post Diploma in Sculpture, 1961 in U.P.; Fresco and Mural paintings from Vanasthali Vidyapith Rajasthan in 1959; Photography from College of Art, Lucknow, in 1961. Shows: 44 Group shows, 25 Solo shows and 19 camp shows all over the country; Participated in various national exhibitions and annual shows. Collections: In various galleries in India . Awards: He has received the highest number of awards in India . Mob: 9810835871, Ph: 0120- 2509074 E-mail: sskukkal@yahoo.com

rtist Sher Singh Kukkal has the true zeal of the creative artist in him. Having mastered all the conventional forms of artistic expression, he remains unsatiated as he eagerly involves himself in creative photography, experimenting on the play of light on the paper and comes up with fascinating and captivating results. With a yen for the unusual as his leitmotif, he abhors the idea of sticking to a trademark style. That is why Kukkal the artist is an everemerging force to be reckoned with, in the contemporary art world. Excerpts from an interview: What is the reason behind the development of a leaf pattern in your art? It is related to Nature in a very special way. When I first began to use this leaf form, I used actual leaves after treating them for art work and then embossed them on my paintings, creating interesting textures on my canvas. Later, I began to simulate the natural leaf with other materials and treating them specially, so that their durability is retained and they create the same texture as a natural leaf in the painting. The Lexicon Collection

How do you know what style of treatment and choice of materials should be used in a painting? I choose the style of painting and the materials according to my subject and my thoughts associated with the subject. For instance, a particular painting might require a depiction on a canvas, whereas another theme might be better suited to watercolours and on paper. Yet another may be best portrayed in acrylics. Do you use special paper and canvases for making your art? I always make my own surfaces for painting. If it is an oil work then I use a readymade canvas but in all other cases I coat the cloth of my surface according to the requirement of the painting. I have also used jute extensively on my works and it gives a marvelous 3-D effect on the surface. As commercial canvases are oil-based they are not particularly suited for my experimental paintings and I am left with no other choice but to choose the material according to the work I propose to create. How do you create the artificial leaf in your art? The three-dimensional leaf work began from

Togetherness

experimentation in the beginning. The natural leaf was given a rubber solution coating to ensure permanency. Now it is a direct dye cast of cloth and then its placement on the canvas. The different tonal tints are then created with the help of paints and brushes. This way, the life of the leaf in my canvas far outlasts the one in nature! There is a strong presence of music in the forms you depict on the canvases. Why? As you know, I am also an amateur musician. I play the violin for my own pleasure. Whenever I get tired of painting, I take out the violin from its case in the studio and begin to play a tune. In art, I depict musical instruments and musicians amidst Nature. I believe that music and art are entwined and one cannot prosper without the other. Nature is the source of all our musical sounds as it is believed that the sargam notes emanated from the calls of birds and animals. The figure in the midst of this play of nature and musicality is an embodiment of the godhead from which all sound comes and He is in a meditative posture, lost in the charms of his music.

Since you have done vast research on the subject of creating surfaces specific to themes in art, how are you making this knowledge known to the art fraternity? I guide students at the research level who choose to work on art surfaces as their choice of studies. Currently, I have students who come to me from towns in Uttar Pradesh not just for research purposes but for practical hints on art treatment and their effects on the painting. I also have a few neighbourhood youngsters who come to me for guidance from time to time, but that is just a casual friendly association. In your acrylic works you have a tendency to depict flowing forms whereas in your oil works there is an angularity of strokes. Is this difference dictated by the texture of the painting? As academic grammar one follows colour and form lines. But this is a beginner’s stage. Later, the experienced artist likes to blend these divisions and finds his own avenues for creativity, where surfaces and paintings are not rigidly demarcated. The subject in higher art therefore is thought, and the form follows. If an idea is thought meticulously, it The Lexicon Collection

Swar lehri

will degenerate into a well produced craft item. In art therefore, there must be the license to expose as one’s whims dictate. What are the main sources of inspiration in your art? For me, art is always inspired by music. The main theme of the painting is like the main bandish and the later murkis, and tukras embellishing the music, are the effects of the self, in art. The public’s enjoyment is immaterial for an artist. What must be satisfied is the soul of the artist. How do you maintain such a vast repertoire of styles and forms? Once I have mastered a certain technique and a certain style of painting, I stay with it for life. In this way, I don’t cast aside any form or style. In this way every form of art expression remains fresh in my memory and I do not become less proficient in any particular style of art. Even till date I continue to create watercolour works using the wash technique that I had learnt as a student at the College of Art, Lucknow, under such eminent teachers as Dr Khastagir. ■ 37

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D A. Devi-I B. Budding joy-II C. Devi-II D. Nayika

A DIALOGUE WITH SCULPTURES An artist who presents tradition in an innovative way.

Prof. Biman Bihari Das Ex-Principal Govt. College of Art & Craft, Kolkata Qualifications: 1966 First Class (Distinction) Diploma in Modeling and Sculpture, Govt. College of Art & Craft, Calcutta Honours and Awards: 1973-74 Recipient of British Council Scholarship under Prof. Jeffrey Smedly, Department of Fine Art, Portsmouth, Polytechnic, U.K.; U.G.C Grants under Indo- Hungarian Cultural Exchange Programme in Budapest, 1993; Fulbright Fellowship ( USA ), 1997; KALA VIBHUSAN’ from All India Fine Arts and Crafts Society (AIFACS), New Delhi, 2001. Shows: 21 Group shows, 22 Solo shows, 17 Camp shows and six International exhibitions. Collections: India and abroad Mobile :09871638071, 09836159239 E-mail: bimanbdas2001@yahoo.co.in

orn and brought up in the rural area of Tamluk, Bengal, where broken terracotta images are found in abundance, Biman Das grew up with a natural fondness for sculpture and art. Later on, he was educated in Calcutta under the guidance of the famous scholar sculptor Chintamoni Kar. On a British Council scholarship he went to England in 1975, for further training. On returning to India, he served as art teacher first at the Delhi College of Art and then as Principal at the Calcutta Art College. Since his childhood, he began moulding the fine clay of the region into free shapes that later took on the dimensions of countless forms. After successfully mastering the usage of clay he professionally utilised bronze casting to shape his special topics that stem from traditional Indian themes like Devi, Mithuna and Nayika. These classical themes were then translated into a special pliable language of his own. Thus his craft is both Indian and contemporary in sensibility. Looking at the sculptures of Biman B. Das is like having a dialogue with his creations in their entirety. Besides sculptures he has a vast collection The Lexicon Collection

of paintings and line drawings that he creates from time to time. His mediums clearly show a deep interconnection among them as well as a phased evolution of art. The sculptor proudly declares his art as an innovation of India ’s age-old tradition. Biman Das holds the indigenous art and craft of India in high esteem and says that we need not learn anything from the West in the field of art, as our own art tradition is already very rich. But it is painful to see that many artists of the younger generation are looking to the west for inspiration. Their effort is, in a way, fouling our rich cultural tradition. In his view, in its entire length and breadth, India is a vast museum of art. “Go to any place, and you will be saturated with all types of art that abound on Indian soil,” he declares. He further says, “Art is literally scattered everywhere in India . Go to the temple complex of Konark and Khajuraho, caves of Ajanta , Ellora and Elephanta, or see the miniature paintings of Rajasthan and elsewhere, and you will see that Indian art and craft is simply stunning. But it is very much unfortunate that instead of learning from our art heritage, we are looking

Lord Buddha

towards the west and regard western artists as our ideals.” All this does not mean that Biman Das nurtures orthodox sentiments. He is a widely travelled man across the globe and has held shows of his art in countries like the USA, and England. He gained vivid experience during these foreign tours. Reciting an anecdote from his England tour, he says, “When the art teachers in England came to know that I had come from India, they acknowledged the greatness of Indian art and asked me to teach British art students Indian art traditions.” Likewise, while he was holding an exhibition of Indian paintings in the USA, art lovers there appreciated Indian art and expressed their ignorance of not being aware of India ’s rich art heritage. In the rich art tradition of India, sculpture has always held a supreme position. This was perhaps another reason why Biman Das had an inclination towards sculpture since the very beginning. His sculptures present a unique blend of age-old Indian tradition and modern art. The imprint of Indian art can be clearly seen in the build and subjects of his sculptures, whereas modern abstract influences are

Krishna cult-II

seen in the flexibility and surface motif many a time in the entire array of his art pieces. Realism and abstraction are present in a beautiful blend in all his sculptures. Biman Das is a respected and honourable figure among art teachers and critics alike. His craft bears the striking influence of the miniature paintings of the Bengal style. At the same time, he has a superb command over contemporary art. He has experimented with abstract art also. In fact, he is preparing a whole series of modern abstract art and intends to hold a solo show of the same, in the near future. About his venture into modern art, the artist says that he is doing it lest the critics label him as an orthodox artist, who clings to old styles and is not open to accepting new ones. “I wish to give my art a contemporary look and mould it into a modern phrase. That is why, elements of realism as well as abstract styles are present in my art. Both of them are equally important to me,” he surmises. When an artist reaches the peak of his creativity, figures become unimportant for him. Abstract art then becomes an innate medium of The Lexicon Collection

Philosophy of life-IV

Devi-III

expression. It is analogous to the supreme position of love, when no one but only the beloved remains visible to a lover. These are the stages of sequential evolution. Thus all his sculptures show figures and sometimes hide them. Similarly, they are built on serious themes like philosophy and show the abstract in a beautiful symphony. A similar thing can be said about his paintings also, which sometime appear like an extension of his sculptures. Biman Das has always had deep love and attachment to music. Music, in its various forms, has always held a central position in the long ancient tradition of Indian sculpture. Following this tradition, Biman Das has given music and its related themes prominence in his sculptures. In the beginning of his career, he made innumerable sculptures of Devi, which may be called a pivot of Bengali society. Later on, when he migrated to Delhi, Krishna became the central theme of his art. He says both these deities symbolize the supreme state of spiritual love. He has even made mundane love rituals between man ■ and woman a topic of his sculptures. 39

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D A. In Conversation B. Space Odyssey C. Dialogue with Green D. One with Nature

CONVEYOR OF GREEN ARTS An artist whose spectrum of creative genius encompasses many hues.

D.P. Sibal Exhibitions: Several solo shows and the ones sponsored by India International Centre, AIFACS, NDMC, Russian Center, Hungarian Information and Cultural Center, Institute of UN and UNESCO Studies and participation in various shows here and abroad. Collections: Works in collection of NGMA, LKA, Bharat Bhawan, UNDP, IFFCO, UN University for Peace, Costa Rica and several important collections in India and abroad. Also in the collections of private collectors from the corporate world. Mob: 9811143818 E-mail: paul.sibal@yahoo.com

.P. Sibal has been highlighting the themes of nature and environmental awareness through his paintings with a single minded dedication in his past exhibitions and has established himself as a crusader for the cause. His guiding inspiration is to bring about environmental co-existence through his work. A life-fellow of the International Institute of Arts and Letters, Switzerland, Sibal is the recipient of numerous awards – Aadharshila, UNESCO Center (India), World Mass Communication, International Felicitation at the Global Assembly of Educators for Environment, World Peace and Human Rights, National Award- Avantika, indo-French Friendship Association Award, Lion’s Club, Delhi Greater, Agnipath(Gold) and represents Aotearoa New Zealand Guild of Artists Trust (Supporting Member - Asia Pacific Cultural Center for UNESCO) and Janacia Trust Associates (a UN NonGovernmental movement of artists working for environment and world peace) and of course honoured by AIFACS. He recalls with pride his painting based on The Lexicon Collection

peacocks dancing on his rooftops which he had seen happen in his childhood. It was selected through a worldwide competition and exhibited at Osaka Triennale in Japan. His works have been a part of important art events in India and abroad notably National Exhibition of Art, V Bharat Bhawan Biennial, IndoJapanese Cultural Art Exchange at Gallery NakanoTokyo, Mail Art Exhibition – California, Nehru Centre for Arts – Mumbai, Indo-Russian, IndoHungarian, Indo-Slovakian Art exposures, and IndoEgyptian exposure at Hotel Taj Palace, Art for PHDCCI Charities at the Royal Bhutanese Embassy, New Delhi, “Expanding horizons”, “Tales of Textures” and “Timeless Treasures” by Gallery Art Elements at Hotel Crown Plaza, “For a Sunnier Tomorrow” by “Savera” at Hotel Grand Intercontinental, besides tremendous art activities abroad, starting with Hyde Park Corner-London some decades ago. His works are in the collection of NGMA, LKA, AIFACS, Bharat Bhawan, UN University for PeaceCosta Rica, IFFCO and several important collections here and abroad. Excerpts from an interview:

In unison

When did you first realize your aesthetic leanings towards art? I think this aesthetic leaning was inborn, because before even going to school I had started conceiving ideas and started drawing pictures of horses, cows, of my own imagination, on the walls. As an artist what is the most fascinating thing you see in the universe? It is nature in its abundance. But today it is being destroyed at the cost of unsustainable development. We need to go back to nature and not turn our back to it. Nature has been the theme of my umpteen shows. Our shrinking open spaces and greenery around us, though ironically we are living in the ‘space age’ naturally becomes my concern to express through my paintings. You have also chosen horses as one of your themes. Any particular reason for this? Horses to me are symbols of power, speed, energy and grace. They have been a subject to paint and sculpt for many painters and sculptors. Like Theodore, Gericault (his famous work: Cheval de Napoleon) now in the John Hay Whitney

Collection, Alfred de Draux was a painter of horses. Edgar Degas too discovered race tracks as a source of a variety of subjects to paint equine grace and so did Manet. So why not me who has grown up amongst horses as a part of my household? I look upon them with my desire for a greener environment to match the one of the yesteryears. I’m proud of the fact that I had once an exhibition of my painted horses along with those of Robert Konig – an internationally known Hungarian artist at the Hungarian Centre New Delhi. And my paintings of the theme have reached far off places on the globe. Tell us something about your figurative paintings. Figures that are connected with nature are a source of solace to me. I work on male, female, themes alike. It mainly depends on what sort of chain of thoughts I’m going through. You are influenced by music also. Does it reflect in your paintings too? Everything creative is related to a certain rhythm to my mind and in paintings if lines do not have any rhythm or flow, it is difficult to create a harmony of The Lexicon Collection

Juxtaposition

Space odyssey-I

Naturescape

Space odyssey-II

colours. During my visits to the Royal Festival Hall – London, besides other places to listen to western classical music and my deep interest in Indian light/classical music helped me to explore every pulse of it. It is with no doubt that basic rhythm is a base for all my art pieces. Do you use any symbols in your paintings? Flying birds are often a repeated symbol in my work. They lift up your soul and seeing them flying high up in the sky evokes a kind of soaring spirit in you. What is your opinion on the commercialization of art? I for one would like to strike a balance between the inner creative urge and demands of the day. Have your techniques also undergone any changes over the years? I now feel my experimentation with techniques and various mediums has turned more or less a full circle. However I still keep my canvas available for any kind of experiment which my creativity can ■ bring about. 41

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D A. Kaal chakra-I B. Kaal chakra-II C. Kaal chakra-III D. Kaal chakra-IV

AN ARTIST IN SEARCH OF ETERNAL BLISS People pretend that they are awake. But actually, they are sleeping, in a never-ending slumber

Pankaj Mohan Aggarwal Qualifications: B.F.A. (I.C.) from Kala Maha Vidyalaya, Lucknow, 1966; Studied Folk Art at Nathdwara, Rajasthan, 1970 Shows: 33 Group shows and eight Solo shows all over the country and abroad Collections: India, USA, UK, Singapore, Italy, France, Australia, China and Dubai. Ambitious project: Book illustration and museum work in U.P. Awards: Gold Medal from Agnipath, All India Art Competition and Exhibition 2005; 10th drawing, graphic and sculpture exhibition, 2005. Ph: 011-65855678, Mob: 9968445417 E-mail: pragy_anshu@yahoo.com website: www.pankajaggarwal.com

rtist Pankaj Mohan Aggarwal bears a saintly aura. After a chat session with him one feels totally relaxed and enlightened. And when his better half, Kusum Aggarwal joins in, the conversation becomes all the more enlightening for she has a whole gamut of experiences to share with you. In all, the couple treats the guest as their child and it never appears that one is doing a formal interview with a great artist. For the artist, art is a means of attaining the highest order of mental peace. That is why he always takes art to be a mission of his life. And this is exactly the reason why he has treated art as a hobby, although he is formally trained in art. Exporting handicraft items was his main business for more than 20 years. Then he served as the art director with Evergreen Publications, in Delhi. He made his formal entry into the art field barely five years ago, but rose to the pinnacle in this short span. During this brief period, there have been a large number of solos and group shows to his credit, both in India and abroad. Besides, in 2007, he executed the task of completing a museum exhibit The Lexicon Collection

in Meerut on the first freedom struggle and another in Lucknow, dedicated to the life of Gautama Buddha. Excerpts from an interview: Please tell us something about the subjects that you paint. Well, I like to paint spiritual subjects. About the choice of my subjects, I can only say that I belong to a spiritual family. Both my mother and father were spiritual by nature. I myself live like a Sufi. So it is but natural that spiritualism dominates my subjects. How do your paintings, being so serious in nature, communicate with the viewers? I take full care to see that my subjects look fully balanced and artworks completely symmetrical. I pay full attention to every detail, even in a small painting. How do you create your artworks? I follow a well-planned path to create my paintings. I always carry a pencil and a sketch book. I am fond of meditation and indulge in it when time allows me. It is during the time of deep meditation

Manthan

that I come to see my subjects. As soon as some subject strikes my conscience, I immediately make a rough sketch of it. These sketches are then expanded proportionately and given finishing touches. Every stage proceeds with planning. Hence, none of my paintings ever appear haphazard. Is there any particular style that you follow, or have you developed your own unique style? I have developed my unique colouring style. Earlier, I used water colours. But now, I am using mostly acrylic colours in such a way as to produce oil colour effects. To produce an oil colour-like effect, I apply very thin layers of acrylic colours. That way, they spread evenly and do not cake or flake, upon drying. Thick layers of acrylic colours obscure the finer details. Moreover, when they dry, they may crack. Eventually, such thick layers begin to flake and separate from the paintings, spoiling their commercial value. Tell us about the themes of your paintings. The main theme of my paintings is sociospiritual. In one of my paintings, I have depicted

Aaj-I

man like a machine. It is the condition of man in modern times. He keeps on running from dawn to dusk without any rest. Even real machines require some rest. But man is restless because he has to fulfill his need and, more than that, his greed. I have also taken current issues concerning our common future, like global warming and mounting pollution. Then our children are under great stress these days. I have tried to depict their agony also. Then you may see different persona in my paintings that shows that people of different ideologies sham to be friends, but cheat each other whenever they get a chance. Superficial love and the list of such themes is endless. Can you highlight any particular painting? There is one painting that portrays the traditional snakes and ladders game in a new light. It shows that the ego is more dominant in humans and life, just like the game of snakes and ladders. Ladders are shown broken because most of the people use others to climb higher, completely unaware of the lurking snakes that are ready to swallow them. Have a close look at society and you will find many similarities with this game. The Lexicon Collection

Aaj-II

What is your forthcoming project? My coming show is Kaal Chakra, the wheel of time. It will have pen and ink drawings. This ‘wheel of time’ is divided into day and night, hours, months, years etc. Kaal or time, is the most powerful in the entire universe. Everything is under the influence of time. The passage of time is like the shifting sands. Humans want to hold it forever; they want to control it. But the irony is that the more tightly he clinches his fist, the faster it passes out of it. It makes a circle of everything – for example, birth, childhood, young age, old age and death. People go round and round with it, day and night, running behind time to fulfill their dreams and wishes – walking in a trance of time, suffering with lust, anger, greed, attachment and ego. People pretend that they are awake but they are actually, in a never-ending slumber. People are happy, as they are, being slaves of time. Only a few lucky people go beyond the Kaal Chakra (time)–i.e. Gautama Buddha, Mahavira, Ramakrishna, Socrates, etc. They know the main motto of their lives. The lotus is the symbol of eternity, purity, divinity, a virtuous life and fertility ■ and ever-rejuvenating youth. 43

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D A. Seeking a companion B. Sitar vadan C. Revenge D. Devadasi

PRISTINE BEAUTY OF ART An artist creating magic with undersea effects.

M. S. Thakur Qualifications: B.F.A in 1964 and M.F.A. in 1980. Group shows: M.F. Hussain, Dhiraj Choudhary, Jagadish Dey at M.E.C. Art Gallery, New Delhi 1992, and Japan 1993. Solo shows: 17 shows in New Delhi and one show in Bombay and many Camp shows in India. International shows: 11 shows in New York, USA, Dallas, Florida, California, Seattle, Chicago and Phoenix 1985, 86 and 94. Participation: National Exhibition 1984, 89; Sahitya Kala Parishad 1989; All India Exhibition 1984. Collections: India and abroad. Awards: Awarded many prestigious awards. Ph: 22230465, Mob: 9891275177 E-mail: subodhthakur@rediffmail.com

e is an accomplished artist, a staunch practitioner of yoga and a wonderful storyteller. All these traits are amply visible in his work and each of his paintings seem to tell a different tale. Hailing from Lakhimpur Khiri district in UP, Thakur spent his childhood amidst nature. His childhood imagery still persists, even though he is now a world renowned artist. Children have always fascinated Thakur. His school job afforded him opportunities to enjoy their company. MS Thakur is a product of the College of Art and Crafts, Lucknow, and he did his post graduation in Fine Arts from Delhi. Before coming to Delhi, he joined an art training college to train art teachers. His love for nature took him exploring the hilly regions of UP like Kalagarh and Garhwal. His every trip into the wilderness enriched his artistic acumen. He has got the rare distinction of painting 38 varieties of roses in the Mughal Garden of Rashtrapati Bhawan. These paintings depict roses in great detail and an exhibition of the same was held in New York, in 1985. The Lexicon Collection

His tours to the US brought about a sea change in his artistic quest. He used to do face sketches at Coney Beach in New York. He noticed that although there was a great rush at the beach, people’s faces did not reflect the desired satisfaction. This aroused his curiosity and ultimately took him to Disneyland , where he made several underwater trips. He found the undersea world highly astonishing as nature was totally untouched there. He made several underwater trips and learnt a new thing every time. He was so fascinated by the underwater’s pristine beauty that he adopted it as the backdrop of his paintings. But his storytelling through the brush still continues. He says that earlier he used to write fables and also tried his hand at writing lyrics etc. So having an influence of this skill on his paintings is but natural for him. His paintings in realistic and semi-abstract form appear quite like narratives in themselves. Their peculiar feature is that all of them have underwater backgrounds irrespective of their subjects. Thus, whether it is the depiction of Radha Krishna love or the lovelorn Meera singing on a desert path, the underwater background gives

Dream of love

them a distinct identity. But never do his paintings appear awkward. The artist’s astute craftsmanship becomes visible in the beauty with which he fuses his subjects with their background. Bass relief texture is the other distinction of Thakur’s paintings. This imparts an antique look to his paintings. Not only this, Thakur’s paintings have a beneficial effect on health also. This compliment was given by none other than the renowned heart specialist Dr K. K. Aggarwal, who is now the chairman of the Heart Care Foundation of India. In 1996, when Thakur was holding an exhibition of his underwater series, Dr K. K. Aggarwal happened to be one of the visitors. He was so impressed by those underwater landscapes that he sent a citation on the Heart Care Foundation’s letterhead exalting Thakur’s paintings. He wrote, “After viewing the landscape paintings of Mr M. S. Thakur it appears to the viewers as if he/she is diving into the depth of the ocean and is beholding the beauty of nature in its original shapes. He derives joy in the company of the flora and fauna prevalent underwater and forgets the mundane world... that creates tensions and worries. These paintings make

heart patients forget all of their tensions and worries.” Clearly, these words highlight the potential of art and also the role that good paintings can play in the modern world, a world that is full of tensions, worries and anxieties. Yet another art critic writes: “Each of Thakur’s paintings has its impact on man’s mind. For instance, semi-nude paintings invoke sexy and passionate feelings. Some of his paintings make us familiar with our culture, tradition and way of life. Definitely, the viewer derives mental peace from these paintings, which eventually take one into an imaginary world where nothing but only tranquility prevails. There is bliss and divine peace hidden in these paintings. As long as they are in front of us, we derive eternal pleasure and peace because the natural and original environment devoid of any type of pollution attracts our mind, thus relieving us from mental tension.” A beautiful blend of realistic and surreal imagery is seen in Thakur’s paintings. The artist seems to deliberately abstain from delving into the abstract. Upon asking if he has ever tried his hand in the abstract form, he says, “Abstract art is purely The Lexicon Collection

Mermaid

mental in origin. Some people use it as a means of expressing their inner thoughts, which more often than not appear highly jumbled and as such, confusing. Sometimes, viewers cannot judge what the artist wants to communicate through them.” He further elaborates, “In comparison, realistic art directly touches the heart of the viewers. It is not necessary to paint your dreams in abstract.” His words hold true to their character. One can see a superb display of high level imagery in M.S. Thakur’s paintings. For instance, almost all the paintings show Meera wandering across thorny paths amid dense jungles. But M.S. Thakur put his imagination to work here and has portrayed her in an undersea background. The path is the same, a desert path, but it is sunken deep below the surface of the water, creating a fantastic impression of an imaginative undersea desert. This is what strikes our senses at once. The artist’s endeavour does not end here. His painting of a little mermaid is especially captivating. Thakur tells that he had been fascinated by fairy characters in his childhood. He has put that fascination into the painting. The viewers feel the same fascination when they look at the painting. ■ 45

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D A. Nature B. Unconscious C. Where am I? D. Two friends

CELEBRATING THE NATURAL FORM Every canvas has a different story to tell.

Mukesh Parth Qualification: B.F.A. in 1991, from College of Arts and Crafts , Patna University . Flair for painting: Semi-realistic, figurative and abstract Awards: Gold medal in the All India Art Exhibition in 2006 and many State Art Exhibitions Shows: Solo exhibition in Lalit Kala Akademi, New Delhi , 2001; Ashok Hotel New Delhi, 2002 Group Shows: 21 March, 2010 , Art Camp of Join Hands of Indian Great Artists, for the Commonwealth Games, to paint a 200-ft canvas, at India Gate, New Delhi. All India Arts & Crafts Society, New Delhi, Lalit Hotel, New Delhi, 2010; Many other group shows in Mumbai, Delhi and Patna Collections: By Ashok Group, India and abroad. Mob: 9899697066, E-mail:amp3001001001@gmail.com

ukesh Parth’s nature and life series was greeted with enthusiasm by a new generation of art lovers, who probably found in it an honest reflection of their own feelings and ambitions. The moods and silhouettes were both natural and surreal… with withered trees informing of the parched landscape that lies earnestly craving the first drops of the monsoon. Characters – pensive, desiccated and poignant – complement the ambience perfectly, even as disparate elements from nature and the man-made world lie scattered all over the rest of the canvas. It’s easy to lose yourself in this fantastic and bizarre universe. His strokes build a bridge between nature’s most subtle creations and those beings that arise from it. Excerpts from an interview: Tell us something about your background. I did my BFA (in painting) in 1991. I have received 20 awards from 1984 to 2006, including State and All India National Awards. I have been working in this field for the last 25 years. I have

The Lexicon Collection

worked on several themes and series, discovered after relentless research. In the early days, I used to work mostly on religious and patriotic topics. Gradually, I started working on burning social issues, such as AIDS and female foeticide. These days, I am doing a lot of abstract work… and this change is clearly reflected in my works. When did you become interested in art? When I was seven or eight years old. Despite exploring many roads and avenues, I have always been an artist at heart. That’s where I find my inner bliss. I started out making statues of Hindu gods. Gradually, the desire of becoming a professional artist grew in my mind. I was drawn to the magic – and possibilities – of the canvas, early in life. I have always found life, and all its miracles, mesmerising. What is your style of painting? My art is semi-realistic and abstract, both. As we grow, we imbibe the various faces and facets of nature and the world we live in. In time, we mould and align the realities and concepts we accost every day, to be in tune with our own personalities. Nature, woman-power, the plight of the underprivileged and

Nature and the male

society in its many forms and shades, are the items that dominate my canvas. It is informed by honesty, intensity and a deep sense of poignancy, for these are issues that touch me profoundly. Your work is essentially abstract. How do you choose your subject matter? Abstract art does not aim to represent the external appearance of any real thing. The aim is to avoid copying natural appearances and express meaning in colour and form instead. I have two ways of choosing my subject. The first is the complete picture which comes to me at a subconscious level and I just have to sketch it down before I forget it; the second is when I get a bit stuck as to what to paint next… I sit for about an hour, sketching away generally, until something comes to me. Your favourite medium and why? I like acrylic and oil. It’s easy to dry on canvas because it is a very fast medium, and oil is slow. Is there any change in your style? My art is generally infused with feelings of

The main insight

transformation and regeneration… it tends to celebrate the natural form. It is aligned with the Indian look, sensibility and silhouette that I have honed over the years, after working on a myriad themes and series. Social issues close to my heart are female foeticide and AIDS. Among other themes, I am currently working on the theme of inner inspiration. What is your greatest ambition as an artist? To travel to different destinations of our beautiful earth… to mingle and exchange thoughts and viewpoints with different people and cultures… if possible, to hold exhibitions in these places, something that will give me the opportunity to find out how my work is accepted and interpreted by those whose histories and perspectives are different from mine. What advice would you give a young artist just starting and wondering where to start? Art is about a lot of hard work, and a lot of heartbreak. Don’t expect a bed of roses, and don’t opt for the easy way out. If you want to learn anything, be prepared for the long haul… keep The Lexicon Collection

Missing soul

chiselling your abilities… open your mind to the work and opinions of others… seek the company of experienced artists who have a lifetime of experience to offer you… think big… always think about giving, and not just taking… contribute generously to society and help us all build a better future for everyone… most importantly, don’t ever be discouraged away from your main mission in life… have faith, and, sooner or later, success will follow.. Do the complexities of modern life impact you? Modern life is a criss-crossing montage of pressures, obligations and responsibilities that we have to deftly negotiate every day. It’s tricky, for the many responsibilities and hardships can take one away from one’s primary course in life. So one must always have the bigger picture in focus. We are moving away from a simpler life to a more complicated existence, where values like hard work, patience and mutual respect, are mere fancy words. In the rat-race, we’re losing touch with ourselves. We’re losing our green cover, not just on the outside, but inside, too. We need to find that delicate ■ balance between our greed and our needs. 47

B C

Landscape-VI

D A. Landscape-I B. Landscape-II C. Sun D. Moon

COLOURING THE VOID An artist whose imagination is fired by the animated universe.

Rajesh Harsh Qualification: Five-year Diploma in Applied Art (First class) from Shilpa Bharti Institute of Fine Arts and Crafts, New Delhi. Shows: 2 Solo shows, 13 Group shows, 3 Camp shows and also participated in 12 Art Exhibitions all over the country. Award: On-the-Spot Painting Competition by Sahitya Kala Parishad, New Delhi. Collections: Personal collections in India and abroad. At present: Artist in Nehru Planetarium, Nehru Memorial Museum & Library, Teen Murti House, New Delhi. Mob: +919891782997, +919312890088 E-mail: rajesh_harsh1763@yahoo.co.in

tar gazing was his passion in childhood. Now he is working among professional star gazers. And he is the only one of his kind, working as he does, as an artist, in one of the country’s best known planetariums, the Nehru Planetarium, New Delhi . Rajesh Harsh is a BFA diploma holder from the Rajasthan School of Art, Jaipur. The renowned Dutch artist Vincent Van Gogh is his ideal and yellow his favourite colour. He holds his mentor B.P. Paliwal in great esteem. An eminent artist and member of AIFACS, B.P. Paliwal has given him valuable tips on texturising of art surfaces and also taught him how to create 3D effects in paintings. Besides him, Rajesh feels greatly indebted to Jaipal Singh, an artist at the Rashtrapati Bhawan. Despite his busy schedule, Jaipal Singh always takes out time to fine tune the skills of this artist. The number of people appreciating Rajesh’s art is growing. While showing general gratefulness towards the lovers of his art he says, “It gives me immense pleasure to see the people appreciating my art. It is the greatest award for an artist when his artworks appeal to the general public. I feel my The Lexicon Collection

art has that appeal. I am, however, especially indebted to a few eminent personalities for the encouragement they have provided. Mr Anish Diwan of the Hemkunth Group of companies, Mrs Kanti Singh of the World Bank and Mr Jagdip Singh of Fresenius Kabi India, are a few worth mentioning. “I am very much grateful to them all for their guidance,” says the artist. The Delhi-based artist feels that doing an artist’s job in a highly scientific environ is both challenging as well as satisfying. He has great fun doing it. His work involves drawing grounds and depicting astronomical bodies and events. This demands great realism and allows very little space for imagination to play. But it is not all black and dark in the universe. The actual universe is highly colourful and fascinating. So much so that one cannot imagine about its vividness and vibrancy. And this highly animated universe fires his imagination to create fascinating artworks on celestial events. Interestingly, these same events may appear frightening, for ordinary individuals. About the universe the artist says, “An unusual silence is pervading in the universe. It is BLACK and

Landscape-V

has been a source of mystery since eons. But my universe is not just black. It is full of joy. Colours spread all over this black sheet to depict the most massive structures. They are full of life and give you the assurance of being with someone.” Rajesh feels that his work is an endeavour at rendering the unseen moments of the origin of this universe onto the canvas. This is the real challenge, both for the scientists and for the artists. While the scientists have to follow a set path governed by laws, artists are at liberty to use their imagination freely. But viewing the world through astronomers’ eyes changed his perception completely. Now the colours have become different and they mean different things. Colours of varying brightness have now become an astronomical language for the artist, as they open the vastness of the universe to him. Rajesh Harsh is a widely travelled man. He travels in the actual as well as in his dreams. This is a fitting attribute of his nature. This makes him enjoy love between the earth and the sky and his own nature. He says that the purest form of love can be witnessed by the sun in the most sacred

spirits. The portrayal of this love gives him the strength to live and dream. Talking about the relation of science with art, he asks, “Who says scientists cannot feel nature and artists cannot depict science?” Elaborating it further, he explains, “As the scientists say, the colours tell them the history of the source, I try to give them soul. It is nothing but my nature existing everywhere. It is not their sole existence and their combined unity that makes my universe a place to live, to love and to make a new life emerge.” The artist is sad to see that the people are superstitious about the most fascinating phenomena of the heavens, and associate them with myths. Whenever there is an eclipse, people run to temples in order to consult priests for warding off any mishap. Likewise, whenever some remote comet comes near the earth, rumours begin to fly, as people associate them with bad omens. A shower of meteorites is another celestial phenomenon, which people look at with great superstition. But these phenomena constitute great subjects for an artist like Rajesh, who enjoys them as well as learns a lot of scientific facts from them. As an artist, Rajesh tries to capture the beauty The Lexicon Collection

Rajesh Harsh with President Pratibha Devi Singh Patil

of these fascinating celestial phenomena. Not only this, he feels great joy in promoting a scientific temper, especially among children, through his art. This way, he gets an opportunity to share his artistic skills with kids. His organization holds art-related activities like seminars and workshops for children, regularly. They not only enjoy drawing heavenly bodies on canvas but also learn valuable lessons of science in a charming way. Mingling with children and thus disseminating art among the young ones is a pleasure for the artist. He says that children are natural artists and they love to draw what they see around them. But it is sad to see that most of the guardians fail to recognise the artistic talent of their children. Hence, art always remains unrefined. About the endeavour of Nehru Planetarium, he says, “Our organisation provides a two-way opportunity to the kids. First their artistic talent is refined. Secondly, through art they learn about cryptic yet fascinating aspects of the universe.” The artist has evolved his unique style. He prefers to call his paintings as dreams. He says that while developing the theme, line and texture style imparts immeasurable depth to his ■ dreams. This also gives them wings. 49

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D A. Shrusti B. Meditation C. Nature D. Universe

ELOQUENT ART

Painting itself acts as a communication between the artist and viewer, feels the artist.

Anita H. C. Qualifications: BFA in Painting 2000-05, University College of Fine Arts, Davanagere, MFA in Painting 2005-07, Jnana Bharti, Bangalore University, Bangalore, Karnataka. MFA Thesis: Art and Spirituality Shows: 20 Group shows and Solo shows, 8 Camp shows all over the country. Collections: UCFA, Davanagere, Bangalore University Karnataka; Lalit Kala Academy, Bangalore; Department of Kannada & Culture, Bangalore; Police Headquarters, Infantry Road, Bangalore; Dhvanyaloka, Mysore; Shantivanam Art Foundation,Trichy. Ph: + 91 99644 26782, 81051 04294 E-mail: anitahc2007@gmail.com

reating a work of art is a process, which artist Anita enjoys more than anything else. For her, it is as natural an activity as breathing. In fact, she loves to say that art is her life. But the idea of becoming an artist came to her mind at a somewhat later phase in life. It was during her thirties that the artist realized that she should pursue art as a career. Then she decided to join the Fine Art College at Davanagere, to study painting. Thus began her formal training in the art field. She has got a BFA in Painting from the University College of Fine Arts, and an MFA in Painting from Bangalore University . During her studies at the Fine Art College, Anita came in contact with a number of great masters. She regards all of them as her mentors. In fact, she finds it a tough job to mention all the great masters because painting is very new to her still. Nevertheless, in order to understand art and to get knowledge in art she is always looking at the masters and is inspired by their work. As far as mediums are concerned, Anita has got expertise in using all kinds of media, ranging from The Lexicon Collection

acrylic to mixed media and from watercolour to oil colour on canvas, and paper. Besides, she has no liking for any particular colours. As an artist, Anita believes that the process of painting is such that it demands particular colours at particular times to continue with the process. Likewise, she is not particularly choosy about the subject. She lets her instinct play freely and then listens to her inner voice. Still, there are subjects like meditation, spirituality, nature and city, that she likes to draw in abstract and semi-abstract form and style. It is her personal feeling that a painting itself acts as a communicator between artist and viewer. She says, “An artist creates a work of art to give a tangible shape to his inner quest and curiosity about the environment and society where he lives and gets inspiration to move on towards his destination.” Needless to say, the artist and the viewer have different perceptions about a piece of art. Still, some sort of link is established between them. Anita also believes that a painting itself speaks about its virtues. Hence, it need not highlight anything. Instead, it is the creation of an artist, and it speaks about the artist’s mind.

Enjoyment

Self-realisation

The artist plans to hold a lot of exhibitions, and also installations in the future. About the commercialization of art, she feels that it gives an artist assurance to live on art and pursue creative art. She also feels that the pressure of commercialization drives the artist to do innovative things in order to get recognition in the competitive world. This has resulted in Indian artists getting recognition and exposure all over the world because of commercial galleries promoting their works to a wider audience. Excerpts from an interview:

College of Fine Arts, and an MFA in Painting from Bangalore University .

Why do you create art? Creating works of art is a process, which I enjoy more than anything. It is a very natural activity for me, akin to breathing and I love to say that it is my life.

Is there a liking for particular colours? No; because the process of painting demands particular colours at particular times to continue the process.

When did you realize that you should be an artist? When I was in my thirties and decided to join the Fine Art College to study painting. Did you take some formal training in art? Yes. I got a BFA in Painting from the University

Who are your mentors? It is a tough job to mention all the great masters because painting is very new to me as a subject. So, to understand, to get knowledge in art for me all the great artists are my mentors. What mediums do you usually use? Acrylic, mixed media, watercolour and oil colour on canvas, and paper.

What subjects do you take up for painting? How do you choose these subjects? Subjects like meditation, spirituality, nature and city are usually done in the abstract and semiabstract form. I never choose the subject before beginning the work. The theme is an instinct and purely inner voice and mind for me. The Lexicon Collection

How do your paintings communicate with the viewers? Painting itself acts as a communicator between artist and viewer. Artists create works of art to give form to their inner quest and curiosity about the environment and society where they live and get inspiration to move on towards their destination. Here artist and viewer experiences are different from each other. Is there anything that you would like to highlight through your paintings? Painting itself is the highlighting of the artist’s work for the viewer. Painting is not an object to highlight. It itself speaks about the painting; it is the creation of an artist, and it speaks about her mind. Your views about the commercial aspects of art. If we see from an artist’s angle, commercialisation of art gives the individual artist assurance to live by his art and he can depend on what he loves to do, that is creating art. At the same time it pressurises the artist to do new things to get recognition in the competitive world. This ■ sometimes leads to unnecessary gimmickry. 51

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The bird astrologer

D A. Peace B. Story teller C. A horse’s story D. Drum player

COMMUNICATIVE ART An artist who sees colours in music and music in colours.

Mahendra Kumar Puri Qualification: Studied painting at Triveni Kala Sangam, New Delhi under Prof K.S. Kulkarni & Nand Katyal from 1961-1965 National Diploma in Fine Art, College of Art, New Delhi in 1963-1969 Awards: AIFACS–1975, 1976, 1982. Sahitya Kala Parishad, New Delhi–1985 Lalit Kala Akademi Award-2000 Awarded Senior Fellowship from 2000 to 2002, by the Department of Culture Govt of India, Gold Medal at Olympics Fine Arts Exhibition, Beijing, 2008 Exhibitions: Many exhibitions in India and abroad Ph: 011-42411746, Mob: 9811730037 E-mail: purimk@hotmail.com

eteran artist Mahendra Kumar Puri is an epitome of greatness and simplicity. Born in Quetta, now in Pakistan, he spent his childhood in Karachi, the most modern city of that country. But at the time of Independence and subsequent Partition, he was forced to flee along with his family. Thus, he came to India at a raw age and spent his learning phase in cities like Delhi, Dehradun etc. Then after a few years spent in trying to find his feet, he ultimately came to the College of Art, New Delhi, and enrolled there as a student. Puri has the rare distinction of having been declared a full-fledged artist even before the completion of his formal art training. He held his first art exhibition under the aegis of the Young Artists League (YAL), a body formed by the students to promote the young artistic talent of the college. The great Hungarian artist and art critique Charles Sabri compared him with none other than Pablo Picasso. Puri still remembers that exhibition, held in 1968, with twinkling eyes and says, “That was the truest appreciation that I ever received for The Lexicon Collection

Musician III

my art.” The artist is fond of music also and is an accomplished musician. Excerpts from an interview:

visual forms and take the viewer on to a musical journey. While looking at these paintings viewers can enjoy the magic of music.

You are an accomplished musician. How come you became an artist? Yes, I am, indeed, a musician. But I see colours in music and music in colours. Besides, I was deeply inclined to art since my childhood and had undergone formal training in it. I took music more like a hobby than a profession.

Does that mean then that music is the predominant subject in your paintings? Apart from music, I have taken other themes as painting subjects also. Contemporary topics are also highlighted through my paintings. But I make sure that music permeates through all of them.

Do you think that music and art are complementary? Music and art are two sides of the same coin. For a true connoisseur, music creates colours and vice versa. Even an average person can enjoy both simultaneously. All that one needs is yearning eyes and ears, plus a contemplative mind.

In your first show, you were compared to Piccaso. What was your reaction to such a huge compliment? It was a great honour for an artist who was still a student, to be compared with a great international master. The Hungarian artist Charles Sabri had made this comparison. He had settled in India and used to write art critiques in The Statesman. I felt very encouraged by his remarks.

What then dominates your work? Of course, it is music. I have created an entire series on music, depicting various ragas as well as musicians. All of them have a distinct impact on the theme. All these paintings show the melodies in

Please tell us about the painting that brought such a superb appreciation. That painting was based on the pangs that India was undergoing during Partition. Hindus were being slain in Pakistan and a train had arrived at

Delhi Junction full of lacerated corpses. In retaliation, India sent two trains loaded with slain Muslims. It had the desired effect of stopping the massacre. But nobody can forget the agony of those days. I had depicted that agony in my painting. Do you follow any particular style? I have my unique style of creating my artwork. When I start a painting, I communicate verbally with my painting and the subjects therein. They also reciprocate in a similar manner. In this dialogue sometimes some paintings behave mischievously. I then have to coax them with affection and sometimes with anger. Some paintings are so cooperative that they get completed within a few days. Others may take slightly longer. How do you feel while creating an artwork? As I work alone, I find this method full of fun. This invigorates me from within, and my subjects become lively. Do your paintings communicate with the viewers also? Yes, of course. Paintings are an outward The Lexicon Collection

Balloon seller

Devotees

expansion of an artist’s thoughts. As such, they stir the thoughts of a viewer also. When their frequencies match, a communication occurs, which is slightly different from textual communication that happens when one reads a book. It is visual communication. Has commercialisation affected you? Art is my inherent nature. I have never created a piece of art for commercial purposes, but I am glad that they have done well commercially too. What does an artist want? But I see that many young artists are submitting to the market pressure. They are forgetting their creativity and produce artwork in a mechanical way. Even the art galleries and art malls have fixed the parameters, which an artist has to work within. It is hampering the development of art. What would you like to say to such artists? My advice to the young artists is that they should preserve their originality. Only then will they make an identity for themselves. Working for shortterm commercial gains will not pay dividends ■ later. 53

B C

D A. Lonely B. The company C. The wait D. Water-belles

TAKING CHARGE OF EMOTIONS A study on the deep-seated influence the fairer sex exercises over men.

Anita Banerjee Qualification: M.A. BEd. and also done a short course in Art from Sushant School of Art and Architecture; Print making and Etching from South Delhi Polytechnic. Exhibitions: Exhibited many shows in AIFACS, Lalit Kala Akademi, Art Mall and also various galleries in Delhi and Kolkata and Art camps in Delhi. Mob: 9953077006

What do you feel about women’s experiences? There are a few important facts that have struck me about the role women play. For one, a woman has a potent influence on the world, on other women and of course on the lives of men. Another interesting fact that I have figured out as I have been growing and maturing from a little girl to a woman and then to a mature human being, is the fact that a woman plays a crucial role despite the fact that we live in a male-dominated society. Even the lowliest strata of women have a role to play and their influence is tremendous.

Are your latest paintings on women somewhat autobiographical? Yes and no. The female forms in my paintings are not from incidents in my personal life. At the same time it is not wholly detached from my life because the women that I have shown on the canvas depict how women and their experiences have changed my own way of thinking.

How have you shown such a vast and deep subject within the space of a canvas? Right from the beginning I have shown the woman as a power to contend with. This is not a physical force that I depict. The woman I paint is influential through her sensuality. Even back in time, woman has played a tremendous role and her one strength is her capacity to exploit her sensuality to this effect. This is not to say that sensuality is to be equated with a demonstrative role. It can be very subtle, a part of her femininity and not something she is

amily and commitments had remained foremost in the life of artist Anita Banerjee till a decade ago. But once the decision had been taken to pursue a full-time interest in art, everything else had been reorganised around art in her life. Outwardly this committed artist seems to be involved in a game of super management skills, but seeing her vast output of quality canvases arranged all over her well-appointed home, it is clear that her priorities lie with paint and brush. Her latest edition of paintings on the subject of women, is a study on the deep-seated influence the fairer sex exercises over matters both domestic and global. Excerpts from an interview:

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The bright and dark reflections

really conscious of. It is her potent strength and she knows very well how to manage it, for her needs, or according to her circumstances. What is the painting device that is omnipresent in your women figures? In all my paintings on women, there is always a mask in the background. At times the figure holds it off her face, in her hands. At other times she dons it and it is clearly distinct from her natural features. This mask is to show the way of a woman. She’s not quite sure of the man’s reaction in the relationship and prefers to take cover behind a mask rather than expose herself front face. What do the male forms in your canvases depict? The man in the canvas is shown as trying to be very charismatic when in the presence of womenfolk. He tries to win over the opposite sex by exhibitionism, that may take the form of displaying his wealth, or trying to put on sex appeal, or other devices. The woman in the situation, when face-to-face with a man, displays sentiments that are dictated by emotions. She is subdued but not

cowering necessarily. The man, it appears, is truly a devil in disguise. The forms on your canvas have a free-flowing tendency. There are no graphic outlines limiting them to a linear space. Is this a deliberate choice while painting? Yes, I prefer to keep my brush strokes free-hand. I do not like to contain the form within a graphically defined boundary. That would not express my feelings and thoughts through the painting. I also use warm colours so that the entire work emanates a kind of raw passion. When the emotive influence becomes very powerful, the masks in the women’s hands come to the forefront of the canvas. What size of work do you prefer to work on? I like my canvases to be of a large size. This gives me the freedom to express my ideas through the work. I like to let go of my pent-up feelings when I am painting and depict my emotions like an open book on the space. The various mood changes that I experience also enter the paintings in the form of colour applications at strategic points, helping to reflect moods. The Lexicon Collection

The devotee

What about the placement of the female forms? I give equal importance to the figures, whether they are in the foreground or in the background. This emphasises my thinking that every woman is important to my ideation about the role of the woman in society. It also helps me to give equal importance to all the figures and thus makes the details in the painting even more eye catching. The blue shades in the overall warm browns and reds is to give a decorative angle to the painting. What about showing the exterior beauty of the female form? That is done through the showing of contrasts. I do not typecast the fairness of face as necessarily beautiful, but I also want to point out the societal belief that a fair woman is a pretty woman. So I show contrasts among the women by the use of colour. The white against the ebony is one such device. Another is the use of the keys of the piano in place of the woman herself. The black keys denote the dark side of womanly lives while the pristine white reflects on the socially acceptable and ■ presentable woman in the eyes of society. 55

C A. Lotus in a pond B. Campty fall way C. Krishna on Kalia

PAINTING GREEN An artist influenced by myths.

Pawan Pagal Career at a glance: 12 years experience of Art and Paintings. Illustrated many books, calendars and magazines; worked in many modes of painting photographer, (till 2002), Yoga teacher and Naturopathy consultant; Author of eight books of poetry, ghazals and songs; Authored five books of short stories and other titles. Achievements: Murals in many school and temples Organized 6 painting camps, National Karate Championship; Secretary of NGO (Haryali Paryvaran Sudhar Samiti) regd. Ph: +91-9354886537, 09717279392

rtist Pawan Pagal has a magical touch. Whatever he touches becomes a piece of art. But he prefers to be called a humble art practitioner (kala sadhak). Though he belongs to a large farming family, based in Faridabad, Haryana, his love for art brought him to Delhi, where he lives alone, carrying forward his art journey. He is not only an accomplished artist, but also an art innovator. He always keeps searching out new media to work on. As for instance, he has created beautiful paintings on discarded jeans, using them in place of canvas. His high-flying imagination can be seen working on his paintings also. He has drawn a large number of drawings on the mouse, the vehicle of Ganesha, playing pranks with its master. Excerpts from an interview: Tell us something about your art journey. I have been doing art since my childhood. Art was the subject that I liked most. It is my continuous involvement with art that now I could become an artist.

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You said that you were more inclined to art. Did it affect your studies? You may say that. Actually, I would be so devoted to art that I hardly paid attention to other subjects. In the classroom, when our teacher was discussing maths, I would engage myself in drawing sketches. Often I would disappear from the classroom and roam among the fields, orchards, canals and lakes, etc. enjoying their surreal beauty. That was the feed for my artistic mind, as I loved to sketch what I saw in my surroundings. All this resulted in my trailing in other subjects and was forced to abandon my studies. Do you regret that you could not finish your studies? Never for a moment. Though I took little interest in other subjects, teachers never reprimanded me, as they all knew about my artistic talent. At times, they needed my help too, whenever some function was held in the school. I also felt happy on such occasions. Besides giving me an opportunity to show my worth and I am glad that at each such occasion I received overwhelming applause from teachers and fellow students alike.

Aadhi nari

When did you realise that you have become an artist? An artist is never complete. Even today, I don’t regard myself as a full-fledged artist. In fact, art is a journey; It is not the destination. Though I receive a lot of appreciation for my artwork, I still feel I am in the learning phase. And I feel learning is a lifelong process. What inspires you most to make a painting? Just about anything. But I put nature first in the list of my inspirations. Nature is actually a vast and inexhaustible teacher. You may feel tired while learning from nature, but she never tires of giving you. Besides, I am an avid traveller. Wherever I go, I carry my camera with me to shoot naturescapes. Later on, I base my paintings on these pictures. Your painting titled ‘Eve’ depicts a green woman. What does she show? Eve was the first woman on earth. She is the mother of all of us. If we extend this analogy to nature, we find that nature appeared first on earth. She is the mother of all of us. She is green. Green Eve in the painting depicts nature. She is shown

Sati Sita

naked to give the message that she is vulnerable also. It is everybody’s duty to protect her and preserve her chastity. You have drawn a number of mythological characters also, especially Ganesh and his mouse. What is the message here? Whether we believe it or not, myths exert a great influence on our life and society. But we associate them with superstition. I chose the mouse of our Ganeshji because it is a common household creature. Despite its small size, it carries rotundish Ganesha over its back. Is it not funny to watch? Our kids are familiar with Micky Mouse and Jerry of Tom and Jerry fame. But there is no similar character here to catch the fancy of kids. I have depicted Ganesha’s mouse playing pranks with its master. It is my humble way of doing something new for our kids. I have also tried to tell that instead of nurturing superstitions, we ought to treat our mythological characters in a new light. You have made some paintings on jeans also. Where did you get this idea from? I got this idea quite by chance. One day, when I The Lexicon Collection

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was doing a painting I wiped my brush clean with my old jeans and left it. The colour dried on the fabric and gave a good visual effect. At once it struck me, why not use jeans as a medium? Then I deliberately made some small painting on jeans. The outcome was encouraging. Now, I regularly use jeans as an alternative medium to canvas. Discarded jeans come in handy. My search for new types of mediums continues even today as I love to experiment with new materials. Your views about commercialisation of art? Has it affected you? It has made the artists beat a single line. They make similar art pieces again and again and are afraid of doing experiments, lest they should lose their market. But the real pleasure of art is in trying something new. So far, it has not affected me. Please elaborate it. Art is a highly creative field. If you do similar things again and again stagnation will result. Doing things differently, or doing different things, makes you stand apart from the crowd. That’s why I say an ■ artist must always try new things. 57

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D A. Fountain B. Mahatma Gandhi C. Vidya data Ganeshji D. Govind Ballav Pant

ARCHITECT SCULPTOR Son inspired by father.

Anil R. Sutar Qualifications: Master of Architecture & Urban Design Washington University, St. Louis, Missouri, USA; Bachelor of Architecture School of Planning & Architecture, New Delhi, India Anil Sutar is an accomplished architect, sculptor, and painter. He worked with some renowned architectural offices in the USA. During this time he designed many projects in the USA, Nigeria and the Middle East. Anil Sutar’s vast knowledge in the field of Architecture, Urban Planning, Sculpture, Paintings has enabled him to create a sculpture the Garden at Anandvan and a museum cum sculpture studio in NOIDA. The majority of monumental sculptures, fountains , murals and other artworks are done with his father Shri Ram V. Sutar jointly, and displayed in public places.

arental guidance in one’s chosen profession is a dream fulfilled. Then topping the cake is the icing bit: working with a parent on the same project and having the privilege of seeing how a master’s hands mould, shape and transform inert materials like metals, mud or fiberglass into throbbing sculptures. That is a part of the journey that artist and sculptor Anil Sutar has traversed.

Krishna Arjun Monument

observing him study anatomy, make the details of face, the drapery as he climbed up ladders to work at the monumental sculptures that he is so well known for. That proved to be the best guidance for me. In college too, as an architecture student, I had taken up subject options pertaining to art, such as clay modeling, sketching and such things.

What are your earliest memories of art in the home? The earliest memories are the usual kind of playing with clay and other mediums and fashioning objects that took my fancy. It was when I began studying at the School of Planning and Architecture, Delhi, and would visit my father’s studio that the involvement with art began in earnest.

Why did you not study fine art and sculpture in an Art College? Initially I wanted to join College of Art but my father suggested that I do Architecture as I can do sculpture any time. He had seen me making sculpture, paint and sketch so he thought I knew these traits quite well and doing architecture would enhance my skill and a combination of both would be a great combination. His thinking was absolutely correct and here I am. Today I can handle the biggest projects in monumental sculptures.

How did you get involved in the work of your sculptor father Ram Sutar, during your student days? I used to help him with applying clay, and work with him as an apprentice. But it was more of

How has the architectural background helped your growth in the field of sculpture? Being an architect with an Artist's background, I can envision the sculpture and it's structure. This is

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crucial when one is making large monumental works and we, my father and I, are known for such public sculptures that we make all over the world. How has art helped you in your technical development? Art has been very helpful while I was studying architecture and while working as a professional architect, because I had the flair to sketch perspectives, render them beautifully which is a great asset for an architect. Same thing works vice a versa because now as a professional sculptor I can design any kind of monumental sculpture with not only good aesthetics but also sound structure. Has working with such a senior artist in any way hampered your individual growth as an independent sculptor? Not at all, on the contrary, I feel privileged to be able to have such a sound training right at my home. He is not only my father but he has been my inspiration and Guru. Since our ambitions and the method of making a sculpture is the same, our likings are same. We share similar wave length. I feel proud and fortunate that we are working together.

How has your father helped you in improving a sculpture you have undertaken? Usually all the sculptures that we have done are joint ventures. While I was practising architecture I had made some murals in wood, which were well appreciated and I sold them before I could exhibit. Since the time, I have taken sculpture as my professional career I have worked on all the large scale monumental sculptures with him. Even though I can finish and complete a sculpture on my own but I prefer that he finishes the sculpture, especially the facial expressions, with his master strokes. What are the singular individual touches that you have observed in your father’s works? I have always marvelled at the way he has put the final touches to sculptures that I have done. A few of his strokes have brought life in the sculpture. He has made, I am impressed with the anatomical knowledge he has and the handling of the clay which creates the natural lifelike feeling in the sculpture, whether it is in clay or bronze. The strokes that he flourishes on, are his unique style of statement according to me. I find that though it is The Lexicon Collection

Chhatrapati Shivaji Maharaaj

human hands forming the sculpture, when I see his work in progress I feel that there is a signature soul beneath that workmanship that one must instill into a work of art in order to give it life and immortality. What are the special points that you keep in mind when working on the sculptures? When we are making a sculpture the most important thing to keep in mind is the personality we are making; what kind of work this person did, what are his characteristics, his clothes, their textures etc. After all, the person whose sculpture is being made is a well known figure whether he be in politics, social activities, industrialist, king or saint. So he should look like one, so that the people are able to make out and remember him for thousands of years. For example, Gandhiji was known for his peace and non-violence movement. If he is shown in a meditating pose the expressions have to be like that. If we make a Chhatrapati Shivaji statue it should depict him a chivalrous personality. All the sculptures made by us have that quality, which has been appreciated by everyone. ■ 59

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The long wait

D A. Fortune seeker B. Shadow of a lance C. Flute player D. Eternal peace

FUSING FOLK WITH ABSTRACT ART An art creator whose works speak louder than words.

Vishnu Pawan A self-taught artist, working with oil on canvas, is modern creative and straightforward. Shows: 21 Group Shows, five Solo Shows all over the country. Collections: I am a contemporary artist. My collection had been acknowledged in Hollywood, New York, Canada, Germany, Japan, Australia, London, Ratawal. Social welfare and tourism minister, (Delhi Govt) and by art lovers. Mob: 9313648170, 011-45650903 E-mail: vishnupawan_artist@yahoo.com artist.vishnupawan@gmail.com www.vishnupawan.com

or some art creators, their works speak louder than words. Artist Vishnu Pawan is one of them. Vishnu’s art journey spans over four decades. In fact, his name is a tribute to two women – his mother and wife respectively – who played extremely important roles in mending his life. Vishnu has been an early starter, forced by the financial hardships of the family. The situation forced young Vishnu to take up petty painting jobs, like writing wall slogans and advertisements for films. He, however, soon recognised his artistic talent and found himself drawing covers of paperbacks that were very popular those days, in the social, detective and thriller genres. Then his drawings began to appear in some of the popular magazines of those days also, like Diamond Comics. Vishnu Pawan entered the exhibition line way back in 1995. Since then, he has shown his works in a number of solo and group shows and become a name to be reckoned with in art circles. His paintings find a great market in countries like Malaysia , Australia , the UK and the USA . Excerpts from an interview: The Lexicon Collection

Tell us something about your journey. I owe a lot to my mother Vishnu, who encouraged me to take up art. Then it was my wife Pawan, who further sacrificed her life for my artistic pursuits. My real name is Dharmchand Mohanpuria. But as a tribute to these two ladies, I adopted this name, Vishnu Pawan, and am known by it in art circles. I had been attracted towards art since early childhood and I am grateful to my mother, who always encouraged me in this field. I have covered a long journey in art, beginning with wall painting to film advertising, book cover designing, magazine illustrations, such as in Diamond Comics, calendar designing, realistic paintings and finally, embracing abstract art as a means of expression of my deep-rooted feelings. I have no formal education in art and I believe that no one can teach you how to draw unless you are inspired from within. Whom do you regard as your mentors in the art field? Hansraj Uppal and N. S. Dhammi are a few of my mentors. I came into their contact in 1968, when I was doing artwork for Andh Vidyalaya (Blind

Seductive foresters

School ) on Panchkuian Road . O.N. Narsimhan was an army officer, whom I met coincidentally. Once, I was painting the wall of a military compound when some army men stopped us. We pleaded with them to allow us to continue our work for the sake of earning a livelihood. The mayhem brought O.N. Narsimhan to us and he asked me to work with him on art projects. That was the turning point in my art journey. How do your paintings communicate with the viewers? I always desire to give something to the society through my paintings. I believe that art must act for the uplift of society. As such, they should have some meaning. Painting must play a proactive role in social transformation and not remain a painting alone. I work with this goal in mind. What are your subjects? Well, subjects come to me spontaneously as I work on the impulses of thought. Also, contemporary events and social phenomena compel me to create art on a particular subject. For instance, I drew a few paintings on Gandhiji. They

The worshipper

looked so impressive to art promoter and Director of Ankan Art Foundation, Kanu Nayak, that he at once advised me to draw a series on Gandhiji. He then displayed those paintings at AIFACS Art Gallery, along with the works of some other prominent artists. Do you have a liking for some particular medium? No, not at all. I am an all-rounder and feel easy with all types of mediums. I have not confined my creativity to any particular medium. I believe if you are comfortable with your mediums then you will be doing more creative work. How much has folk art influenced your work? Actually folk art is the mother of all art. In my opinion, there would be no artist who is untouched by folk art. If anybody says that he or she has developed his or her own style, I think they are making a false claim. I have myself travelled a lot throughout India to see the folk art of various regions. On every tour, I learnt a great deal of things. There is a lot of folk within all of us. Our roots are there. The Lexicon Collection

Sharing their pleasure

What made you embrace abstract art over realism? In short, it was the pressure of commercialisation. I finally concluded that if an artist has to live a decent life, then he or she too, must join in the contemporary trend. That way, I embraced abstract art. But realism is still my first love. It is in this genre that the skills of an artist are put to an acid test. Some of your paintings look erotic. What is the motive behind such artworks? I do not create art deliberately. I work on instincts. If you look at these erotic paintings, you will find that they reveal some harsh realities of life. Like, a woman labourer slumbering after hard work. She does not need a cosy bed and pillow. She sleeps just anywhere. She is not even conscious of her clothes while asleep. So the look that a painting creates is entirely subjective. It is in the eyes of the beholder; what he sees, is what he interprets. As you can see, I create a fusion of abstract art and realism in my paintings. That way, my paintings have visual appeal for all categories of ■ viewers. 61

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D A. Sindura B. The skeptic C. Compulsive life D. The pretender

SIMPLE DEPICTIONS An artist whose colours reflect positivism.

Sunder Lal A self-taught artist, working in oil on canvas for the last 25 years, his style is realistic and straightforward. Camps/workshops: Attended many State and National level camps. Favourite media: Water Colour, Acrylic, Ink, Paste, Charcoal, Pencil, Pen. Skills: Portraits, Life Stories, Landscapes, Paintings. Experiences: Started with Banner line film posters 1974-78, Mumbai; Silk fine paintings (1979-84), Delhi; Join with Samyak Prakashan in 1985, and still working Gautama Buddha and Baba Sahib Bhim Rao Ambedkar, Life stories and portrait on paper, silk and canvas; participated in lots of Exhibitions and Group shows. Mob: 9999148041 E-mail: sunderlalartist@yahoo.com

self-taught artist, he had the seeds of creativity sown in him since his childhood. Now working as a successful artist, Sunder Lal’s style is purely realistic and yet simple. For him, art is a means to express untold stories. Most of the time, he feels that he is a story-teller rather than a painter, because he tries to convey a story through his paintings. The canvases of these stories are vast, vivid and with a language of trueness. His art is different in a sense that sometimes, like Raja Ravi Verma, he depicts the characters of the past in his paintings and sometimes his brush pours out the colours of modernity. His technical approach is very clear because he had started his career as a poster designer. He uses vibrant colours to reflect positivism and liveliness. Character and light source are other aspects which reflect in his paintings. According to Sunder Lal, he shows the inner thought of a person through light. Excerpts from an interview: Has your style changed over the years? There is no style as such. It’s spontaneous. I

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Surviving on hope

never got influenced by any particular style. My style often depends on the subject or thought. In some of my paintings, you will find that the face is prominent; sometimes it is face, or eye, or merely emotions. Basically, I am a realistic artist and like to make portraits and paintings based on Indian traditional and Rajasthani culture.

consciousness – into the inner world as well as the outer world and I think that’s what motivates me.

You have used a lot of different materials and mediums. Would you like to talk about it a bit? Materials and mediums are very important to me and any change gives me a kick. My preferred medium is oil on canvas, but I also work on silk and mount paper, acrylic and water colour. I feel comfortable in all the mediums.

Do you use symbols to enrich your painting? Symbols are the powerful medium to convey the message an artist intends to give his or her viewers. You will find that a book, which is a symbol of knowledge, a lotus flower, which is a symbol of peace, in my paintings. Symbols can convey feelings, a detailed panorama and the essence of the different religions.

What inspires you to paint and what keeps you motivated? What keeps me motivated is probably working towards higher ideals, understanding myself and understanding the human beings around me and the environment. Basically, I want to be more conscious of everything that happens in the world and also everything that happens in the world inside me. So it’s a sort of journey into the

How do you decide on colours? Mainly, it depends on the subject, mood and idea. Colours are the base of the paintings and play an important role in giving a desired touch and feel.

How do you conceive ideas? Thoughts come while talking, conversing and walking. Whatever thought comes to my mind I immediately make a sketch of it and then elaborate by giving it a form. It seems that you are inspired by Buddhism also? The teachings of Buddha inspire me a lot.

Nature

According to Buddha it is important to know oneself, because a whole world is inside us. To know the eternity, one needs to understand oneself. Do you paint for art’s sake or commercially? Definitely for art’s sake, but we cannot deny its commercial aspect. It is equally important. Your opinion of the present art in India? The condition of art is very bright in India and you can easily get the buyers for your paintings accordingly. There is no dearth of appreciation and realistic art would never die. It is an all-time favourite style. Those who work with honesty and choose the path of hard work, also get the work and money and those who believe that art is meant for only selling, can also survive. An artist can easily survive in India . Do you think that art galleries are beneficial sources for the artist to sell their works? Art galleries are the biggest platforms for artists to display their works on a large scale. Without these galleries it is difficult to reach the masses. Today marketing and advertising are two important The Lexicon Collection

Unwavering devotion

aspects in every field and galleries not only give exposure but also market the artists’ works. What is your next venture? My next series is based on the life and nature of woman. I want to connect with spirituality as to understand woman and spirituality is the one thing. What is a best and worst part of being an artist? It is only beneficial and I think it is a matter of satisfaction only. What advice would you give the newgeneration artists? These days, minds have become mechanical and these machines are so dangerous that they don’t have a stop button. It is essential to remain calm and composed as there is a solution for every problem. Be ready for anything. Always have finished work on hand, prepared to show, to move out the door. Work every day – even if for just a few minutes! How do you rate your success as an artist? Although I am satisfied with my present achievements, but still there is a long way to go. ■ 63

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D A. Nayika-101 B. Nayika-102 C. Nayika-103 D. Nayika-104

PAINTING DIFFERENT FACETS OF SOCIETY An artist’s bid to end societal dogmas through paintings.

Nawal Kishore Rastogi Qualifications: B.F.A. (Topper) in Painting from College of Art, Lucknow, 2000; M.F.A. ( Ist Div.) in Painting from College of Art, Lucknow, 2003; Art Appreciation Course from State Museum, Lucknow, 1999 Awards: All India Award from State Lalit Kala Academy, Lucknow (U.P.) 2010; Awarded Merit Scholarship from College of Art, Lucknow, 1999, Awarded Garhi Research Grant by the Lalit Kala Akademi, New Delhi, 2001-2002 Shows: Many Group shows, Camp shows and Solo shows all over the country. Mobile: 9910943306, 9971672030 E.mail: nawalartist@rediffmail.com Website:www.navalkishore.com

orn in 1977 in a small district, Milak, Rampur, in Uttar Pradesh, Nawal completed his education from the College of Art, Lucknow in 2003. He has done his BFA and MFA degrees. He has also done an art appreciation course from the State Museum, Lucknow, in 1999. He has participated in many shows and his works can be seen in places like the State Museum of Lucknow and the Information and Broadcasting Department, Lucknow . Nawal has received numerous awards for his works and has also been awarded the Garhi Research Grant from the Lalit Kala Akademi, New Delhi . He has been a founder-member and director of the Arts faculty at Amity University, Lucknow, and also heads the Department of Arts at Amity Campus, Noida. But to concentrate seriously on his interest, he took leave from all other commitments and started his own studio. In today’s scenario of increasing unrest, when some people are trying to spread the message of peace through their work, artist Nawal Kishore has joined hands with them. In his series titled The Lexicon Collection

‘Realistic’, he has delved into the different moods and emotions of human beings. Through the paintings of Lord Buddha in ‘Meditating Buddha’ and ‘Padmapani Buddha’ the artist has tried to spread the mood and message of peace. A ‘Nayika’ series on the emotions and struggles of Indian women was also a part of his artistic expressions for perpetuating peace. The paintings, with their distinctly oriental touch, appear almost primitive at first glance. They subtly explore the relationship between perception and reality. The colour scheme and their intensity bring out the seriousness of the issues. Excerpts from an interview: How would you describe your style of paintings? It is realistic but when I was learning, I had a chance to work with the famous artist B.N. Arya who taught me about the technique of wash painting. Later on, I had converted this technique works with oil on the canvas. I have mostly used orange, brown, green, silver, yellow and golden colours on the canvas. Oil colours have been used and experiments like ‘rendering’ have been carried out, in which, after painting the picture, good

Life-51

elements remain and the bad elements get removed from the canvas. Famous artists who have influenced you? A. Ramchandran, Anjoli Ela Menon, Vijender Sharma, and international artist Rembrandt, for their lively works. It seems that you are influenced by nature. Why? Yes, nature influences me immensely because of its changing forms, freshness, brightness and vibrancy. It gives me energy to work as an only source of enthusiasm in a world full of violence and chaos. How do you conceive your subjects? All my paintings are based on the situation in society. My works reflect the inner feelings and emotions taking place in our minds. I have shown the importance of Nava Rasa in each and every human being and how it brings changes in our moods and expressions. I had tried to make the world understand the need for peace in the present scenario through my Buddha paintings.

Where do you stand in this field of art? I don’t think of myself as an established artist; neither am I satisfied with my work. There is still a long way to go. I am at a learning stage and want to explore more, but for that, I don’t believe in doing any sort of marketing. My main focus is to eliminate all the dogmas of society, with a Sufi-like approach to it. I don’t care about the recession or the boom; I only want to create awareness in society. I will make it happen in the coming years. What do you feel about the art environment in India? The situation of contemporary artists is very atypical. Because of the marketing, they are getting high prices for their paintings. It is an irony that on the basis of sales an artist’s calibre is decided. The government should come forward to provide facilities so that the young artists get opportunities. What is art for you? For me, art is an expression. It is an aesthetic thought through which I express my inner feelings. All my forms are based on the concept of satyam shivam sundaram. The Lexicon Collection

Life-52

What are the five compositional inputs that you infuse into your paintings to give your personal touch to them? Peacocks, women, lotuses, birds and animal forms. I have integrated Sufi philosophy through these different symbols. Tell us something about your Nayika series. In this series I have portrayed a woman as the protagonist of my art. The pictures are beautifully and colourfully painted. Some paintings show women in different postures and thoughts. These paintings are realistic and portray the divergent moods and emotions of women. The styles of painting I have used are oil painting, watercolours, water and poster, and pen and ink. Have you ever felt that it makes a difference which art school you are from? I do not know if that level of snobbery exists in the art world. I have never personally experienced any prejudice. Whenever I have presented my art to galleries and also when I get reviewed for my exhibitions, no one has asked me which art school ■ I studied in. 65

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BEHIND THE SERENITY An artist who looks to his roots for inspiration.

Praveen D. Upadhye Qualification: Art Master Diploma in Painting, Govt. Fine Arts School, Dharwad, Karnataka. Shows: 27 Group shows, 9 one-man shows, many art exhibitions and art camps in India and abroad. Awards: Govt. Fine Art School Dharwad 1st Prize 1987; Shanti Sagar Janam Jayanti 1st Prize, 1987; A.I.S.F. of Karnataka 2nd Prize, 1987 Mob: 9818226414, Ph: +91-11-26537043 E-mail: gallerypioneer@gmail.com www.gallerypioneer.com www.indiancontemporaryart.co.in

raveen Upadhye is a creative painter who looks to his roots for inspiration. As his growing-up years in Karnataka were in close proximity to a monastery, his works are a first-hand study of monastic life covered from the most interesting angles. After graduating in Fine Art in Karnataka, Praveen continued to fine-tune those images of monks and their lifestyle into a creative leitmotif, so that in art circles today, Upadhyeâ&#x20AC;&#x2122;s works bear testimony to his monastic leanings in much the same way as do the paintings of brahmacharis of the master artist Amrita Shergil. A look at his works at the recently held exhibition at Epicentre Gallery, Gurgaon, reveals how Upadhye has captured the subtlest of nuances in his depictions so that the facade of serenity is unmasked to exhibit the real persona of the individual monk, occupying centre stage in the work. Excerpts from an interview: How do you manage to introduce a new angle each time you paint your subject of monks and monastic life? Though outwardly my paintings are arranged

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around the subject of monks and life in a monastery, the forms on the canvas are very different. Some of the faces are of elderly and wizened monks, while others depict the image of child monks, who are still into mischief even though they have joined the ecclesiastical order. Will there come a time when the subject of monks will get exhausted, forcing you to change your art style? That is not likely to happen in my art. I am not trying to say that I will continue to produce repetitive art, at all. As each of my monks carry within themselves a personal story of their life, the theme will continue as the story of each individual monk is different from that of his neighbour. As long as the personal story keeps evolving, the art form will be kept alive and moving on. What is the technique that you have devised to bring out the narrative or story behind each of the figures that you present on the canvas? Besides the figures, there is also a semi-abstract element creeping into my works recently. As yet, the abstract angle is not very prominent but artists

Solitary monk

have been able to spot the difference. This semiabstract element in the work will be instrumental in presenting the narrative or story element of the painting. Has your colour palette seen a change in recent times? My colour palette is focused on the orange and red cycle of colouration. Within this ambit I exercise a lot of tonal differences so that the canvas has a certain vibrancy. My colour palette is also instrumental in reflecting light in the painting so that deeper tones will effectually reflect the darker shadows and the lighter areas will veer closer to the yellow shades. What are the techniques that you employ in making a painting? I like to experiment with my strokes. This gives me a soothing mental feel, helping me to depict the emotions that my figures convey. Alongside the strokes, I also use knife work and this gives a variety of textures to the painting. As for the medium, I have been a regular user of oils but, more recently, I have begun to realise the possibilities of acrylic.

Bhiksham dehi

Ecstasy

Was there any commercial compulsion to go for acrylics? No, not at all. It is just my experimenting nature to try new things. For me, acrylic is a new medium but, with practice, I am beginning to understand its scope and as my work progresses, I find it a source of joy and freedom for my art. The ease of the colours and the near-spontaneous effect it allows, gives me a chance to see the results on the canvas. Why have you taken recourse to acrylic in recent times? As I said earlier, acrylic keeps my mind alert. As it is a water medium that I use, the works acquire a certain transparency and the depth of the layers is visible clearly. Above all, it is an ideal medium to express my spontaneous feelings and I am gradually using it in larger measure. What is the message that you give fellow artists? Whenever I am in the company of artists, I keep telling them that they should view the pursuit of art as a journey. In this way, oneâ&#x20AC;&#x2122;s art will continue to evolve. If one gets set in a particular groove and begins to reproduce a technique that he or she has The Lexicon Collection

Welcome

perfected, the journey comes to a halt and art dies. After all, the artist is exposed to a wide range of situations at every moment of life. If the artist veers away from situational work, and from the process of observing and creating via these situational inputs, then art becomes a dead object; whereas art is synonymous with life. Events and happenings, in life are fleeting. Art makes them immortal on canvas. Hence, an artist must possess keen observation and a sensitive nature. Though you are such a strong advocate of change and journeying through art, why is it that you have stuck to the theme of monks and their lifestyle? My subject matter is not in question. Within the same subject matter (monks) I have improvised a thousand changes. My work always seems to be in the experimental stage as I am constantly introducing changes, and more recently, with abstract inclusions. Other artists prefer to change their mediums like, say, digital art, but in my case the use of mediums remains constant. The story still unfolds into a new chapter with every canvas that I undertake. â&#x2013; 67

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ART IMMERSED IN DIVINITY An artist whose abstracts skilfully utilise various tones and hues.

Anand Goswami Qualification: B.F.A. from Govt. Institute of Fine Arts, Indore . Shows: 20 Group Shows, three Camp Shows and four Solo Shows all over the country. Collections: ICICI Bank Mutual Fund Asia Head Office, Singapore; Himachal State Museum, Shimla; Gymkhana Club, New Delhi; Rural Electrification Corporation Ltd. (Govt. of India Enterprises) Many other private collections within India and abroad. Mobile: 9810672496 E.mail: anandgoswami_30@yahoo.com

nand Goswami is one such artist whose abstracts skillfully utilise various tones and hues to imbibe the spiritual aspect of life and convey a message of peace and serenity. His hazy and blurred abstract forms emerge as brilliant and soft textures with vibrant colours. But his figurative paintings are also a depiction of reality and liveliness. The figures in Anand’s paintings seem to be very symbolic, judging by their looks, which seem full of emotions. His belief that art comes from an ‘inner voice’ can be observed strongly as a blend of ‘spirituality’ that pervades in his paintings. One of his series, which was based on Sakyamuni, the ascetic of the Sakya tribe, effectively combined both abstract and figurative forms. For Anand his work is not just for the sake of art but also for the joy of creation. His works have something of the divine in them and he refuses to submit to any rules. Anand was born in Madhya Pradesh and graduated with a BFA from the Government Institute of Fine Arts, Indore. He got his first opening in painting by doing a mural of Shiva in oil The Lexicon Collection

for a temple, when he was in class seven. His work was appreciated by all and was followed by another series of murals during his schooldays. His art reflects his personal quest and religion – an ongoing discipline immersed in divinity which gives him immense satisfaction. Excerpts from an interview: What are the subjects you like to create through your art? Although, I don’t like limiting myself to a particular theme or subject, but Hindu mythology inspires me a lot. I am currently painting ‘deities’ and soon would be painting the Ramayana and Mahabharata. Currently, I am working on a series based on the Bhagwad-Gita. What is your favourite colour and medium? I prefer using dull colours to give the real texture and tone to mythological subjects and for depicting that particular period, dull colours are required. More than their tint it is the application of colours that is more important to achieve spontaneity. Generally, I use yellows, reds and greens, which are auspicious and mandatory in all Hindu rituals. Currently, I am using mixed media.

Untitled-V

Can you tell us something about your series based on Sakyamuni? I am quite impressed by the philosophy of Sakyamuni – the preacher of the Middle Path of ahimsa, peace and renunciation, qualities which I have tried to portray in my paintings. The colours that I had used in this series are also in tune with the philosophy of Sakyamuni. The greens and golds transport us into a stress-free world of tranquility, simplicity, and well being. These paintings have a healing touch. How do you describe a good work of art? A good work of art is a medium for creating positive vibes, of realising the higher self. To create a good work of art, an artist has to have a positive message to convey. Also, he should himself be aiming at realising his higher self and has to produce a work of art after listening to his inner voice. What is that one thing which inspires you most? The inspiration for all my art is ‘spirituality and the worship of the divine’. Being ritualistic, I transfer all the symbols, forms and colours of Hindu pujas into my abstract canvases.

How do you react to criticism? I take it in a very positive way and if you want to achieve something big in life then you should have the courage to accept it with an open mind. Once the painting is displayed in a gallery, it becomes the property of the public and they have the full right to comment on it. Do you paint for art’s sake or for commerce’s sake? I paint for my sake, but an appreciation of it must be there from others. I feel one has to be honest and committed to one’s work. For me, my works are not just for the sake of art. It is the joy of creation which I cherish the most. How difficult was it for you to establish a mark in this field? It is not very difficult to establish oneself in this field if you are clear about your aim. You have to decide how you would face competition and, according to me, competition is a way towards achieving your desired goals. If you are hard working and doing good work then nothing is difficult to accomplish. The Lexicon Collection

Do you feel art has been a journey into your inner self? Yes, it is a journey into one’s self because the process of painting is an exceptional experience and reflects the introspective and serious reflective mood of the artist. If a painting gives you pleasure, then it is the most beautiful thing of the world because beauty is art and art is connected with the inner self of an artist. Where do you want to see yourself in 10 years from now? In fact, the art field is highly unpredictable. No one knows what will happen in the next six months, or even one year ahead. Besides, an artist has mood swings also. But the mantra is: If you work consistently, you learn new things. This is a continuous process. If we work hard and sincerely, 10 years are enough to reach the top in our field. The previous 10 years have been spent in learning and honing my skills, plus establishing myself as per the needs of the market. On the other hand, 10 years are actually too small a period to do something extraordinary. The success of the next 10 years will depend on the previous decade. ■ 71

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D A. Nature and life B. Relationship C. Obstacles D. Incarnation

CONTRASTING THE USE OF MEDIUMS An artist who experiments with each stroke.

Bijan Paul Birth: 1st January 1958 , in Calcutta Shows: From 1980 to 2010, he has been exhibiting his paintings in India and abroad (Solo and Group shows). Collections: India and abroad. Mob: 09871182009 Ph: 26676201, 26680719 Fax: 26683270 E-mail: sensiableart@hotmail.com Works are available in Delhi, Kolkata, Mexico, Paris, Washington, DC. Please contact through e-mail and get all information about paintings and exhibitions.

ijan Paul was born in Kolkata, a city of art, culture and education; a city where any child can get inspired by its rich heritage. He belongs to a highly qualified and cultured family where not only was his talent for art nurtured, but his overall personality too was enhanced in a very positive way. After finishing his schooling from Don Bosco School, London, he did his MFA from the Royal College of Art, London. To explore the infinite possibilities of the interlinked relationship between human beings and nature around us, Bijan has been travelling to several corners of the globe. Beyond the articulation conveyed by his technique of simple though contrasting use of mediums, his work comes across as an assessment of a situation. Bijan is an artist who applies paints and colours to show what is modernity and simplicity. He has held numerous national and international shows. His understanding of colour is his forte. His work reflects a basic understanding of nature and its creatures, creating a special ambience on each canvas. He is extremely revolutionary in his outlook towards society, The Lexicon Collection

especially the role that women play in it. The human drama depicted on Bijan’s canvases find a strong footing and the portrayed character lingers in one’s mind long after the canvas is removed from one’s view. Excerpts from an interview: Since when did you realise that you were cut out to be an artist? Art is an inborn quality. Every being is born with some special characteristics and qualities. Since my childhood I was inclined towards art and to painting later. I find it the best way to express my feelings. Initially, it was my hobby and through the passing years, it became my profession and passion. How do you define your style in painting? It is line defined with colours. I use my fingers, pen and brush to create a painting. I work in acrylic; very rarely do I use oil colours. You chose different themes but what is your most prominent subject? In my paintings the man-woman relationship is

Acrylic on canvas size 24” x 36”

Prayer

the most prominent subject, besides nature and life that are in a way related to this bond. Actually, I want to convey to the people how important women are for society and life. Basically, women are the shadow (shelter) and light of society and the people who develop the social system and relationships. Your works also show a distinct partiality towards the primary colour palette. The reason? I believe that by using primary colours I am emphasising the fact that the primary stage of life is the grammar of human life. After the primary stage has been crossed we begin to add to life’s multi-layered existence through observation, experimentation and learning. Colours are most important to create visual impact and to express the feelings of the subject. I choose colours according to the subject also. Does the mood of the artist influence the end result of his paintings? Not mood, but the feelings of an artist influence not only the finishing touches, but the whole composition and depiction. Feelings automatically

Acrylic on canvas size 20” x 30”

Tender couple

work on the body and mind and in turn, help an artist to work. Feelings are like an internal conversation which continues throughout the process. At this time when Indian art has got a worldwide acclaim, how do you come to terms with the commercial aspect of art? When I started in the field of art it was very tough to sell but it was a very respectful platform in society. Art was considered like a social status those days. Today, the art society needs institutional resources to develop sensible platforms for art and art lovers. A painting is not for hanging up only; it is a way of emphasising time and life. What inspires you to paint? Nature. Because it protects life and energy and both are interrelated. What other things have enriched your art? Every day I do new work, adopt a new style, experiment with my paintings and this experimentation is enriching my art. The spirit behind each painting suggests my inner urge to go The Lexicon Collection

Acrylic on canvas size 20” x 30”

The rhythm in life

on, to grow, to progress and not to stagnate, as stagnation of any sort is not a good sign for any artist. These days, art galleries are mushrooming in every nook and corner. Do you think this is beneficial for artists? Yes, they are beneficial because they are systematic and institutional. As their purpose is to promote contemporary art as a public service, they are very professional in their interpersonal relationships. They are giving platforms to the upcoming artists, but side by side making money also. Famous artists who have inspired you and why? Picasso, Michelangelo, because they haven’t worked for money; they did art for society and the world. Their contribution was unconditional. How difficult was it for you to establish a mark in this field? Previously, it was difficult to survive or establish oneself as an artist, but not today. Although it is not difficult to get name and fame, it is hard to get money. Until and unless people understand why art ■ is important, this hardship will persist. 73

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D A. Woman with bull B. Rootless living C. Composition D. Untitled

MEANDERING LINES ON THE CANVAS “I surmise that the figure in future will be identifiable, only by the space and the use of colours,” says the artist.

C. B. Rasaily Qualification: Post Graduate in English, Ex. Deputy Director, Min. of Defence. Shows: 30 Group shows and solo shows all over the country. Camps: AIFACS New Delhi 2002, 2009; Pithoragarh 2003, 2004; Lalit Kala Akademi New Delhi 2004; Uttarakhand Kalaakar Sangh New Delhi 2003; SPIC-MACAY and Reach 1994, 97, 2004, 2005, 2007 and 2008; Lalit Kala Akademi Bhubaneswar, 2008; Art Mall, New Delhi 2009; Dehra Dun 2009. Ph: 0135-2788006, Mob: 09411173045 E-mail: rasailycreations@gmail.com Web: www.rasailycreations.com

he ancient practice of acquiring knowledge at the feet of a guru has been put to sound use by artist C B Rasaily. Having a burning desire to learn painting, he sought out a guru for himself and having found his mission, he set himself to learn the art form dedicatedly. Guru Shripat Tilakwad of Pune readily took him under his wing and today, Rasaily has been executing works in a riot of colours, capturing the salient features of his composition with succinct aesthetic touches. Excerpts from an interview: What are the different varieties of subjects that you learnt from your guru? At the outset, we would be taken outdoors and instructed to do on-the-spot paintings. These were highly realistic works capturing what took our fancy at that time. What were the techniques of art that you learnt from these outdoor lessons? At these lessons, our guru would point out to us such basic ideas as perspective, tonal value of

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Mirth in blue

colours, the way to see and then capture in our art the salient features of a setting. Such practical instruction has stood me in good stead throughout my art career.

subconscious mind. The figurative creations are therefore a landmark along my entire art journey and since the seventies, I have found satisfaction in expressing myself through them.

It is often said that following an academic slant in art, kills creativity. How did you learn to balance academia with creativity? Alongside giving us lessons on art basics, our guru also encouraged us to be creative. He would often give a pertinent example by saying that art did not mean copying nature. To be creative he told us to be selective in our choices of what to paint and how to compose the work according to our thought process. We were told to amalgamate what we saw with the naked eye into an inner subconscious level and that when we had absorbed things we should then begin to paint.

Your figurative works show a certain level of maturity. Can you trace your art growth to this level of figuration? At first, the figures that I made were purely realistic. I tried to capture the essential human being in front of me. But that did not satisfy my artistic nature for long. I wanted to express my creativity through the work and therefore I began to place the figure within a context. It was in the midst of nature, among other people, at certain locations, such as a market, home, outdoors. In the last phase of this growth, the figure in the form of a female and a bird alongside, began to come to the fore. This is what I keep creating in my works now.

Have you been painting other than landscapes? Currently, I paint figurative forms. The landscapes are a secondary theme as I find figurative forms more in keeping with the times. Besides, I enjoy the challenge of ‘distorting’ the image into a form that comes from within my

Your colour palette is not integrated to skin tones or actual imagery. What is the criterion for choosing your colours? I always enjoy a strong palette and that comes very naturally to me. I feel that a painting must be

Woman with bird

Me within

rich tonally and in its subject treatment in order to leave an impression on the mind of the viewer. Of course colours are not chosen just to make a bold statement. They are chosen to create a total balance of the unity of colours and the unity of the form. Then alone, does the final result come out to be pleasing and striking at the same time.

certainty, I surmise that the figure in future will be identifiable only by the space and the use of colours. The physical form will not matter at that stage. Since then, the lines on my canvas will meander slowly but determinedly through the space of my canvas. The trend to curve and colour will continue within the format of the female figure.

What are the changes in the features of your figurative forms over the years? Formerly, I preferred to compose the figures in the canvas frontally. Nowadays it is the side view that is more appealing to my aesthetics. Perhaps it is a change in my psyche that has manifest itself in this change of posture on canvas. At first I used to draw every detail of the body, but gradually I began doing away with the extremities of the body such as the arms and the legs. This was the offshoot of my mind turning more and more towards abstraction in my art.

Describe the studio where you think and create and experiment with your art. My studio is located in Dehra Dun , in Uttaranchal. It is built in a hexagonal design with a double height ceiling. It is located in a quiet surrounding and outside there is a large garden. So I am surrounded by greenery all around as I work at my canvases. I listen to the music of Osho and as my brush moves across the canvas, my mind is immersed in thoughts about spiritual things, mankind and nature.

Since your figures have evolved along the way, can you decide on what form the figure in your art will take, in the future? Although I cannot speak with complete

How does it reflect on your canvas? I think, it makes my paintings communicate tranquillity – something needed most in the ■ modern world.

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Wait at night

D A. Obvious look B. Duality of faces C. The journalist D. In search of peace

DEFINING THE SCRIPT An artist who labours over feminist concerns.

Samiran Majumdar Qualifications: M.F.A. in Painting from Indira Kala Sangeet Vishwa Vidyalaya, Khairagarh, (C.G.) B.F.A. in Painting from Bengal Fine Arts College, Chandpara, West Bengal Shows: 23 Group shows, 6 Camp shows and 13 exhibitions all over the country and abroad. Awards and Honours: 2001, 2002 College Award, Gold Medal, Bengal Fine Arts College, Chandpara, W.B. 2000, Certificate of Merit, Bengal Fine Arts College, Chandpara, W.B. Collection: U.S.A., Italy, U.A.E., Bangladesh and various places in India Mob: +919911808500, +919891448909 E-mail: samiranmajumder08@gmail.com Samiran_majumder2007@rediffmail.com

ith every artist representing women in their artist portfolio, it seems that the work on the female form is never original and is often penned down as repetitive, dry, monotonous and never-ending. Having sneaked a look into the volume of work on this subject done by Samiran Majumdar, one is obliged to feel that these frames put forth a study of women in a contemporary style that is both original and eye catching. This time, Samiran has taken feminist portraits, especially in the light of prostitutes’ lives, creating a fanciful way of painting and providing his viewers an opportunity to peer into lives that are often hidden from view. Generally treated as insignificant by spectators, they are categorized as women from the lower echelons of society and thus kept oppressed under the traditional system. Samiran’s art gives a new angle to their lives by treating their profession as work, thereby interpreting their work as labour and not being proven immoral these women are metamorphosed as familiar portrayals of the fairer sex, exercising no undue strain on the The Lexicon Collection

imagination of the viewer to understand the script that the artist has chosen to define on the canvas. Samiran has taken his ideation for these paintings from the ancient practice of devadasis. “In medieval times, women were considered as devadasis of kings. The kings used to stay with these women and treat them as their personal property. Sometimes, in this way they exploited them. Nowadays, equations are different and these devadasis are called prostitutes or call girls. Therefore, my paintings prod into women’s lives, especially the lives of prostitutes, their dress sense and the strategy they employ to earn their living,” he claims. In one of his images, the painter illustrates the story of one of these women who has opted for this profession due to the pressure of her circumstances, having been driven to it in order to feed her family. In the depiction, she is introspecting about her adolescent years, thinking about the types of freedom she could have enjoyed. The first freedom is from monetary slavery and the other is from the restrictions imposed on her lifestyle in this millennium century. Having read extensively about the private lives

Wedding-III

of these women, has given Samiran the confidence to sketch their emotions and moods and their manner of dressing in western attire in order to simulate the femme fatale look as part of their effort to ensnare male customers. The canvases describe the entire life cycle of these call girls, who exploit men by throwing a challenge to their manliness in an attempt to eke out a living for themselves. But as one examines other portrayals of women, one realizes that the prostitution theme is part of a larger scheme to bring up the issue of the suppression that women still experience. A telling portrayal by this 33-year-old artist showcases a naive feminine figure having a veil on her head while conversing with her spouse. Although the frame is a throwback to an established Indian tradition, the woman behind the veil seems wooden and devoid of feelings for her man. The veil therefore is not a symbol of enticement or a means to arouse desire between the couple. “Even in this century, there are religious rituals and customs, where women are barred from taking part in some forms of worship in many parts of the country. I, therefore, try to bring forth these evil

Wedding-IV

traditions of a male-dominated society, be it through defining worship customs, veil traditions or the issue of prostitutes,” he remarks. To depict this broad theme, his palette has permanent and hot and cool colours. He accords his characters with contrast mixtures of paints with a view to bringing out an overflow of expressions. But central to his art is the ability to weave grace into his female characters, who seem to articulate their plight by their capacity of enduring their situation by remaining oblivious to everything around them. The use of the red hue feminises the more womanly feelings, while the other colours are brushed on to the surface to evoke a technical contrast with the primary and fundamental shade. Besides giving free rein to his imagination in his women portraits, Samiran has also directed his skills in the field of portraiture and drawings. These are not factual reproductions of living people, but intelligent interpretations of people who are representative of a certain category in society. Thus he flaunts the portrait of a leader with the many aspects of his politics as the figure’s body parts. A politician wears the visage of a humble person when he requires a vote bank, but thereafter The Lexicon Collection

Valentine’s day

changes his persona after getting elected. And when a scandal erupts involving him, an entirely new demeanor comes to the fore. The artist has also dabbled in the area of Madhushala images based on Harivansh Rai Bachchan’s Madhushala. He copies the literary masterpiece in an artistic interpretation using the verbal illustrative passages as his visual guide. Hence a cry of loneliness straight from the heart of a young man, who has suffered much, becomes the core motif of these works. But Samiran also adds finesse to his works by including a positive assurance, culled from the author’s descriptions, where light and darkness are coupled together thus becoming symbols of hope and sorrow. “Madhushala means a house of wine. Whenever I have read or heard a few verses of this poem, the next moment I cannot check myself from dreaming about the simulated image being reproduced on my canvas. I long to explain and put forth before my viewers that complexity of life which are Harivanshji’s four instruments of reference in almost every verse of his poem – madhu or madira (wine), saqi (server), pyala (cup) ■ and of course madhushala (pub or bar).” 77

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A. Untitled-I B. Untitled-II C. Isolation-I D. Isolation-II

A REFLECTION OF LIFE Expression through work.

Sachin D. Naik Qualifications: Master of Fine Arts in Print Marking S. N. School, Central University of Hyderabad (A. P) in 2003; Bachelor of Fine Arts in Painting Goa College of Arts, Goa University, in 2001 Participation: Participated in so many exhibitions and shows in India. Workshop: National print making workshop organized Lalit Kala Akademi New Delhi, at M.S university Baroda 24 Dec to 30th Dec in 2009; Digital workshop, organized by Lalit Kala Akademi Regional Centre Chennai, at Kava College, Mysore in 2008 and many more. Awards: State Art Exhibitions, Best Graphics Award A. I. F. A. C. S. Panaji, Merit Prize and many more... Mob: 9823245873 E-mail: naiksachin4u@gmail.com

here are many different types of print making, just as there are many types of paints. An artist chooses the medium based on the effect he or she is looking to achieve. Print making is considered an original art form because it is done completely by hand. The basic idea behind the print making processes is the ability to make more than one of a specific image in a limited edition. The artist will use some sort of stencil or plate to layer blocks of colour on top of one another. Goa-based artist Sachin Naik feels that there is a wide scope in print making and that is why he has chosen this medium for expressing his thoughts. Since his childhood days, he had an inclination towards art and he used to scribble on scraps and on walls. He did his schooling from Goa and from Panaji did a five-year course in fine arts. After that he did a two-year course in print making from Hyderabad . He received a two-year junior research fellowship from the Government of India also, which, according to him, encouraged him to move further in this field. He teaches drawing in a school. Excerpts from an interview: The Lexicon Collection

Loan

Having graduated in fine arts why you did choose to go for print making? I realised that I can do various experiments in this medium and it has an extensive possibility for exploration. That is why I took lithography and wood cut which are parts of print making, to convey my feelings. What is your style and what are the themes generally you like to work on? My style is figurative and there is a prominence of human figures, whether it is male or female. My theme is based on different emotions, moods and expressions of human beings and their love. Whatever is going on in our society and place and my personal feelings, my experiences, automatically reflect on my canvas. Sometimes I do still life also if I feel that there is no requirement of a subject. What are your preferred mediums? Acrylic and charcoal. Do you use symbols also to enhance your work? Sometimes I use candles and windows in the

male figures as they reflect hope and that a man can lighten his life. I depict this theme by showing a male figure holding a candle as a symbol of his providing security to his family. Apart from that I use interiors and objects in a room and the interior ambience. I feel that through my figures and symbols I can express myself fully and freely. They are truly reflections of my thoughts. Could you elaborate about lithography? Most people cannot afford to own an original piece of artwork by Picasso or Van Gogh, but having a copy of their masterworks wouldn’t be such a bad idea. This is where the idea of a lithograph comes into play. A lithograph is an authorised copy of an original work created by the artist himself or other skilled craftsmen. If the print quality of a lithograph is excellent and the production numbers are low, it may have significant value in the art world. Do you feel more expressive in lithography and wood cut rather than on canvas? Yes. Creating an image on a lithographic stone is an action as natural as drawing on paper. This

also means that continuous tone may easily be achieved, unlike in an etching. The effect of a lithograph is similar to a drawing or water colour. These days a maximum number of artists choose to work on canvas or paper. That is less timeconsuming and one can earn more, but print making is more time-consuming and needs a lot of concentration. The new generation is hardly interested in print making. Do you use colours also, or like working on black and white only on stone or wood? I use printing ink but sometimes add colours also like yellow, tones of brown etc. What is art for you? In my view art is a serious thing and one has to express it seriously as well. The idea is not to please others; instead, an expression of one’s feelings is important. Famous artists who have inspired you? Laxma Goud, Pallavi Appan, Anupam Sood, Rembrandt, Durrer, Picasso, Van Gogh and Japanese print makers. You can find the influence The Lexicon Collection

You can’t catch

of Laxma Goud and Hanuman Kambli in my work. What is the status of Indian art internationally? Our artists have won a name and fame in the international art market. Indian artists are flourishing rapidly and have a scope throughout the world. It seems that new artists’ studios have become like production houses, what is your opinion in this regard? New-generation artists are selling their paintings like hot cakes, but they are not doing it for passion. They are painting for the sake of money, to please others and to fulfil the demands of their customers. They are not paying heed to their feelings. Irony is that in spite of earning money they are not happy as they are going away from the aesthetic beauty and everything has become artificial for them. What are your hobbies? I like listening to old classical music and playing ■ table tennis. 79

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D A. Journey B. The homecoming of birds-II C. Joy of Life-I D. Bird seller

HARMONY – SYMBOL OF JOY

His sculptures are based on the theme of human relationships.

s one of India ’s leading young sculptors, Asurvedh it is no surprise that his works grace the Qualifications: B.F.A. & M.F.A. in Sculpture with 1st interiors of India ’s most prominent Class First (Gold Medalist) from College of Art, address: Rashtrapati Bhavan. Asurvedh’s Delhi in 1988-1994; Four Year Diploma in Art & works are also a part of the prestigious Craft B.V.B. (Board of Technical Education, Delhi.) National Gallery of Modern Art, Delhi. A in 1986-90; Visiting Lecturer at the Institute of Art sensitive artist, he feels the pulse of his & Craft, B.V.B. in 1992-97 surroundings and reflects them in his Presently working in a Delhi Administration School bronze creations, imprinted with his (Govt. of Delhi) President, Nav Siddhartha Art unique stamp of social consciousness. Group (Regd.) Delhi. Shows: 71 Group shows and Solo shows and 26 As a leading young sculptor, how have you Camp shows in the country and abroad. helped the community of young sculptors? Awards: Awarded many prestigious awards by I have always maintained cordial relations with State Govt, Central Govt and during my school life. sculptors, particularly the younger generation of Mobile: 9811178769, 9899708769. E-mail: asurvedh@yahoo.co.uk, asurvedh@gmail.com sculptors. Several of them work with me at my studios in Garhi, in Delhi. There we share ideas and suggestions and I even make pertinent suggestions to improve their work. This has made them both friends and serious artists. Are you instrumental in creating a forum where sculptors can exchange their views on art and other matters? Such a step is almost a follow-up of the earlier 80

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one. I am the president of the Nav Siddharth Art Group, a registered body, in Delhi. As a teacher of sculpture, I have extended my services to the Delhi Art Teachers’ Association and work as the vice president of this organisation. As a resident of Narela, on the outskirts of the National Capital Region, I have volunteered my services to the Kala Akademy, Narela, in Delhi, where I work as the secretary. In this way, I try to bring the work of young sculptors before the public and also help sculptors find avenues to showcase their works for the benefit of the public. As a sculptor what are your favourite themes? In my own works I like to explore the crucial factor of harmony in our lives. That is why several of my sculptures are based on the theme of human relationships, particularly within a family unit. The family home is represented through a doorway, which is alive with the chirping of birds. The figures are holding feathered creatures in their hands. The birds symbolise the joy of life which in turn gets translated into the joys of togetherness in a happy family unit.

The monarch

What does the constant presence of birds in your composition represent? The birds in my works are symbolic expressions of freedom from all forms of bondage and restrictions. As I grew up in the countryside, birds were an integral part of my environment. In my subconscious mind, I have begun to adopt them as my own and integrated them into my works. They seem to bring life into soured relationships, into ruined monuments, into the annals of history enshrined in these monuments. The birds are also my personal reaction to the past, in the present context. It brings out the human bonding with nature and, when placed on monuments, reflects the eternal and the future that lies ahead. Your human figures have a larger-than-life contour through your elongated construct of them. Why do you choose to make them linear and tall? By making the figures tall and linear I free the artwork from geometric angularities. It gives the sculpture a tremendous smoothness, as if inviting the viewer to run his finger along the periphery of the form. Besides, by making them stand tall and distinct, I give the onlooker a chance to view up

Joy of life

close the serenity and calmness in the facial expression of the figures. The viewer is led into a domain of contemplation, and his mind becomes centred on thoughts of serenity, harmony and even a distant future of ultimate calm. What is your idea while putting together such diverse elements as birds, human figures, monuments into a single composition? The central requirement of my sculpture is its ability to be in keeping with the central ethos of our culture. Also, the diverse figures and forms must identify with the need to depict bonding between man and nature, between man and woman, and even human-bird environments. The monuments are silent sentinels of the passage of time and reflect the backdrop wherein every creature depicted in the sculpture has a rapport with the other, in the finished sculpted form. Why have you chosen bronze as your medium? Although, I have done works in other materials as well, I find bronze the most expressive form for my artistic thoughts. This is because of the malleable nature of this material. The material The Lexicon Collection

The omnipresent

provides the correct spaces to express my thought process and the curves and lines that it encourages, through the moulding and shaping, brings out the sensitivity of my art. What is your favourite monument for sculpting? I usually depict India Gate in New Delhi. The arched gateway is a highly recognisable landmark for the people of India and for me, personally. It is a symbol of the pride and sacrifice of our armed forces. In addition, I also include half-opened doorways in my compositions for the futuristic angle they furnish, as also the suggestion that today’s ruins are also places that were once inhabited in the past. What is the message you impart to your students? I like to tell my students that there is no substitute for hard work and clear thinking. The visual appeal of a sculpture is only genuine when it is natural in its expressiveness. It must reflect the sculptor’s individual philosophy and not just a shapely form. That requires deep thinking during the process of creation so that the silent soul within the artist begins to converse with the viewer in front. ■ 81

B The musician

D A. Couple B. The mood C. Mother and child D. Autumn

MOOD PAINTING This artist draws inspiration from tribal life.

Anil Tato Qualifications: B.F.A. from Lucknow University and Post Graduation in Painting from Jiwaji University Gwalior (M.P.) Exhibitions: Several One Man & Group shows in the major cities of India Awards: Amrita Sahitya Kala Parishad, Lucknow, for best painting; Winner in the Annual Exhibition of College of Arts & Crafts, Lucknow in 1979, 1980, 1981 & 1983; Best Painting award “Culfest-81”, IIT, Kanpur Presently working as Joint Director, Graphic, at (Electronic Media Production Centre) (EMPC) IGNOU, New Delhi . Phone:- 0120-2495757, 4253278, Mobile: 09810114309 E-mail: anilsaxena58@hotmail.com Website:- www.aniltato.com

nil Tato is an artist with a vision. Through his art he has managed to encapsulate all that is beautiful and lasting on earth. As Head of the Graphics Department, IGNOU, Delhi, Tato has close interactions with his students and faculty members on art-related matters. Tato’s studiocum-office premises, overlook a picturesque surrounding, dotted with trees. His main source of inspiration, therefore, stems from nature in general, and leaves in particular. Excerpts from an interview: Why do the depiction of leaves in all stages of growth capture your artistic imagination? The leaves are the prettier side of Mother Nature. Hence the leaves are not just parts of a tree, but are the depictions of concepts such as mother, hope, brightness, generations, etc. How do leaves carry in their form the concept of the generations? As you can see in my paintings, I depict leaves in all stages of their growth. There are the brown

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and faded variety, reflecting old age and the autumn of life. The fresh young leaves are a symbol of new life and the arrival of the new generation in society. The dark, yet full-grown leaves of the tree are like the middle years of a person’s life, depicting a time of mature thinking, working towards a dream and other concepts. Besides the generations, what else do leaves in your art represent? Looking beyond the cycle of human life, leaves also speak of freshness and new hope. The colour scheme of leaves are the most expressive language to show this concept as the bright colours of the foliage convey freshness, both subconsciously and visually. You have also used the human form, particularly tribal folk, in your drawings. Is this merely pictorial? The tribal folk in my paintings depict my interaction with actual tribal communities, particularly in the Bastar region of Madhya Pradesh. The forms would have remained purely pictorial if not for the inclusion of my leaves concept. If you notice, the lady’s hair is ornamented with leaves.

Lady with bamboo tree

This is to show the youthful nature of the person as well as the joy that the form presents, through this input. As you are an artist with a keen sense of observation, what other aspects of tribal forms have you depicted through your art? When working on the tribal series, I liked to draw out the aesthetic side of their lifestyles. There were several aesthetic accents in their daily living and these naturally, appealed to me personally as an artist. I was also taken up with the variety of their costumes, which had a brilliant colour palette. They are fond of adorning themselves with wild flowers that abound in the forest surroundings and these too, found a place in my art. They are very fond of personal adornment in the form of tatoos or godna. I have shown the intricacy and delicacy of their body designs on my forms, through their depiction. What is the deeper meaning you have derived from this outward adornment? The artist in me was completely lost in the theme of happiness and oneness with Nature as depicted through the lifestyle of the tribals. These

Nature and romance

Vastu

folk, it seems, have an uncanny knack of drawing out the beauty of Nature and creating their aesthetic side through it. The whole experience developed into what can be called mood painting.

understand the social structure of the community. This helped me draw conclusions on the effects of modern society on traditional practices and the consequence of such influences.

How do you choose the subject matter? In general, the constant subject in my paintings is leaves. When I combine it with other themes, such as human beings, the leaves become indicators of the different people that make up human society. At other times, when the show organisers have a say, I like to go with their ideas. In May 2009, for my exhibition in Mumbai, where the theme was human beings, I created the series with the help of the tribal forms.

What was the finding of this experience and how did it reflect itself in your art? I realised what damage neglect of their sacred customs had done to the society of the tribals today. The loss of rituals and their meaning gave the system a hollow effect. But, it was a genuine imbibing of the mood of their lifestyle and functioning and that itself was a wellspring for my art.

How do you ensure that when painting according to a set theme you don’t degenerate into a physical illustration of the idea? I take care to include ‘mood’ effects in my painting. For instance, in the Mumbai exhibition, instead of just showing the outward side of the lives of the tribals, I decided to experience their lifestyle. I visited the ghotul, or community dormitory for the youth, and there I began to The Lexicon Collection

Do other areas of knowledge influence your art? Yes, I like to depict the effects of vastu on human existence. For depicting vastu principles, I usually take a home setting and the structure of rooms. These aspects are shown through graphic detailing. The space within is made positive by the using of black colouration, contrary to the idea that black denotes negative energy. Within my enclosed space the room is a depiction of technicality through an aesthetic setting, thereby making the ■ colour black a positive force within. 83

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D A. Green god series - I B. Green god series - II C. Green god series - III D. Green god series - IV

A PLAY OF LIGHT AND SHADE

Painting can be taught, provided one has a creative imagination.

Dhananjay Mukherjee Qualifications: 1-year certificate course from La Martiniere SEOMP Society; Graduation from Calcutta University; Art Education from Rabindra Bharati University (Indian College of Arts and Draftsmanship, Calcutta) in 1988 Shows: 18 Group Shows, 20 Solo shows Award/Honour: Award from the Ministry of Environment and Forests (Govt of India) in recognition of my achievements in the field of art, organised by INTACH. Collections: India and abroad Mob: 09810783480 E-mail: artdhananjay@gmail.com artdhananjay@yahoo.com Website: www.dhananjaymukherjee.com

orn in 1964, in Bishnupur, near Kolkata, Dhananjay Mukherjee forayed into art at a very young age. Renowned painters Jamini Roy and Ramkinkar Baij belonged to the same area and their influence were strongly felt by the young Dhananjay who began to paint in the Kalighat Bengal Pata Painting style even when he was only seven or eight years old. Dhananjay Mukherjee moved to Delhi more than 25 years ago, in the ‘80s. He has acquired recognition for executing his paintings in the form of a series titled ‘Green god’... Dhananjay’s paintings have a distinctive appeal due to the brilliant play of light and shade he manages to create with graphic and structural uniformity. There is a judicious mix of the abstract and realistic forms. These paintings bear a unique visual appeal even to a person who does not know much of art, and this is because of the aesthetic manner in which he uses colours to unfold his imaginative ideas on the canvas. Excerpts from an interview: The Lexicon Collection

When did your career in art begin? What do you wish to achieve through your work? It was in 1984, that I started my art career. My aim has always been to become a complete Indian contemporary artist. Tell me something about your family background. Are any of your relatives artists like you? I come from a very normal family background, and there were no artists among us, although now, my elder brother also paints. I was fortunate, however that Jamini Roy, the renowned painter, was my paternal grandfather’s friend, and my first introduction to the art world was through him. In fact, even when I was as young as seven or eight years of age, I began to dabble in Bengal Pata paintings, because of Jamini Roy’s influence. My style in some ways reflects the touch of that great artist’s work. What medium do you use? Oils and acrylic are my favourites. Initially, I used oil most of the time, but nowadays, I prefer acrylic as it is quick-drying too, among other things.

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Usually, I work on two or three canvases at a time. It all depends on the time and, of course, the inspiration. If I am able to visualise the painting on the white, empty canvas, I am able to work swiftly and surely. Otherwise, it takes time to create art. Where do you work? When did you start selling your art? Mine is a studio-cum-residence. My wife is also a painter. My first painting was bought, if I remember correctly, in 1990, in Delhi , but I seriously began to sell my work only in 2000. It gives you satisfaction when someone appreciates your art and pays to own it. Can anyone become a good painter? In your opinion, can painting be taught? If there is interest and enthusiasm, painting can be taught, but there is a definite need for a creative imagination...an ability to visualise.... These qualities, I feel, are inborn. One should have an inherent talent...an eye for colour and beauty...all this is important for creating a real piece of art. Success in this field calls for a lot of hard work.

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Constant practice is vital too. It must be realised that this is not the usual run-of-the-mill occupation... Is art your main profession? I am an ad graphic designer as well. In the beginning, I worked at this job as a profession and indulged in my painting in my free time. Nowadays, it is the other way round! Painting has become my profession and ad and commercial graphics is a hobby. How much time do you devote to your painting? I usually work from 12 p.m. to 12 a.m. This has made me a late riser in the mornings! It is important that you are not unduly disturbed when you are working; that there are few interruptions. Your latest series of Green God paintings is remarkable. What is your inspiration for doing it? I am seeking to give a message to the world through these paintings...to respect Nature...the god who is present in the greenery around us. If you believe this, you cannot but revere the environment. You will not willfully cut down trees, and maraud our rich natural surroundings. The Lexicon Collection

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My Green God paintings endeavour to show the divinity resident in the green of nature. Nowadays, we live in concrete jungles completely destroying nature’s wealth. Forests, which were a source of fresh air and food, are now systematically getting annihilated. My Green God paintings are aimed at awakening people’s consciousness in this regard. Which painters do you admire and seek inspiration from? Satish Gujral is a great painter. I have met him too. I also like the work of A.Ramachandran...and among the artists of the past, Michelangelo. These three have influenced my art. What are the serial paintings you have worked on? I have painted The Tune series, the Mrigaya series and at present, I am busy with the Green God series. The Tune series is chiefly on Krishna , whose flute occupies a distinctive space; the Mrigaya collection reveals tribal figures. The Green God series has environmental messages...a warning against the abuse of nature, the risks of global warming....all because we have ceased to regard ■ nature with the care and concern it deserves. 85

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CREATING AN ARTISTIC AMBIENCE “Art, especially visual art, transcends all barriers and can be enjoyed by all,” says the artist.

Vipul Das Qualifications: Condensed course, Guwahati Artist Guide, Assam; Diploma in Fine Arts, Bongiya Kala Parishad, Assam Research fellowship: Dept. of Culture, Govt. of Assam Art Appreciation Course, National Museum Institute, Deemed University, New Delhi. Awards: Senior Fellowship from Ministry of Culture, Govt. of India to the outstanding artist in the field of painting (Visual art) from 2008-2010 Shows: Participated in 64 Group shows and 17 Camp shows in India and abroad. Mob: 9871082408 E-mail: vipul_chandradas@yahoomail.co.in

orn in Guwahati, artist Vipul Das is a name in the art field that hardly needs an introduction. After a long and vivid art journey, he now resides in New Delhi as an established artist. Nowadays, he is working at a studio allotted to him by the Lalit Kala Akademi in Garhi, South Delhi. At one time, his artworks seemed to be bordering on the abstract, a trend that showed that the artist was moving on to a more complex relationship of colour and texture. The artist has so many laurels in his bag also. The Ministry of Human Resource Development granted him earlier a junior and now a senior fellowship. Even Lalit Kala Akademi has bestowed a research grant on him. Vipul Das works in all types of mediums like oil, acrylic and watercolour. Not only this, he is an astute lithographer and wood carver also. About his art he says, “Creation always enriches the creator and enhances his creativity.” Excerpts from an interview:

Tell us something about your native place. Well, I was born and brought up in Guwahati, 86

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the capital of the ancient Kamrup Kingdom. The mighty Brahmaputra river has nurtured it since time immemorial. The lush green valleys of the Brahmaputra have always fired my artistic cravings. I feel that the rich background of the great Brahmaputra river has played a vital role in carving my artistic talent. The natural beauty of my native place has had a profound influence on my art. Not only this, I have an equally vast exposure to metro life also. Tell us about the subjects you take in your paintings. I have depicted widely varied themes in my paintings. All of them are vibrant in themselves and radiate life. Even their titles are self-explanatory like ‘strokes of life’, ‘rays of life’, ‘brush dancing’, and ‘step-by-step’. They are all good examples of imagination and reality. What are your other hobbies? I see beauty even in trash, thanks to my artistic vision. I take great fun in converting otherwise useless things into enchanting art pieces. This hobby has helped me build a good collection of art

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pieces. I have made use of trash items like the wastage of corrugated cardboard, matchboxes, hardcover of copies, etc. About them I can only say that they are inexpensive to build but, at the same time, these give you immense pleasure. And sometimes they give good returns also. Tell us something about your mentors. Well, I have been fortunate enough to have the company and guidance of some of the renowned artists, who are prominent in their respective fields. They include lithographer Dakoji Devraj, a scholar from Chelsea School of Art, London, has left an indelible mark on my mind. Author and artist Himmat Shah have also encouraged me to great lengths and influenced my artwork. Since 1983, I have been working with prominent artists like Neelkamal Barua. He also hails from Assam. Apart from him, I have had the guidance of Dhruv Deka and Khanil Das. Their works have inspired me no end and helped in developing a fighting spirit. Do contemporary subjects also fire your imagination? Yes, they do.

What about contemporary subjects in your paintings? Topics of the day, like global warming, terrorism and erotic items that depict women in a wrong way also find a prominent place in my paintings. Do you feel such types of paintings make an impact on society? A painting has to be relevant in contemporary terms. Otherwise, there is no meaning in creating such work. A painter communicates with the society through his artworks. I feel, when I take up contemporary topics in my paintings, they become thought-provoking and force the spectators to think about their surroundings. A piece of art is meaningless if it does not converse with the viewers. Not only converse, it should give them some message also. That is why I take these contemporary subjects in my artwork. As a human being, I cannot remain aloof to what is going on around me in the society and environment. Being an artist I feel it is my duty to highlight them in my paintings and draw people’s attention towards them. The Lexicon Collection

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What areas do you feel need highlighting in art? I feel, it is the depiction of women in advertising. The advertising industry has made women’s bodies a commodity. It is being done for the sake of petty commercial gains only. In fact, advertising is a highly artistic and creative field and it can do ample justice with the role women play in the society. But they are being used in an erotic manner to sell the goods. How can you reverse this trend? My art is a one-man crusade against this trend. I feel that someone has to take the initiative. If we do only lip service and take no action, things will not change by themselves. I am sure that this little effort will make a big difference in the long run. Your comment about the role of art bodies. I feel that art bodies like Lalit Kala Akademi can play a bigger role in promoting young artists, instead of governing their art. It can publish books on the life of artists who may thus become role models for the younger generation. Likewise, it can hold seminars, discussions and debates on art as an effort to disseminate art culture and create awareness about art in the country. ■ 87

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THE CONTOURS OF ART An artist looks at the dual aspects of life.

Amit Dutt Qualification: 5 year diploma from Shilpa Bharti New Delhi. Shows: Numerous solo and group shows in India and abroad. Awards: All India AIFACS Award, 2005; Bombay Arts Society Award; Sahitya Kala Parishad Award Collections: Sahitya Kala Parishad Hotel Claridges, New Delhi W.E.HUSSELMAN, chief McDonalds India National Museum, Lucknow and many private collections in India and abroad Mobile: +91 9891693330, Ph: 011 47082664 Email: amitdutt0@gmail.com Website: www.amitdutt.com

he feeling directly touches the soul and form, limiting itself to the mind. That is the only difference in the perception of beauty with form and without form. In his paintings, Amit Dutt has made an endeavour to find solutions to such questions. His work bears a hidden meaning which is inexpressible in words because he feels that such hidden meaning is only a thing to be felt. Amit impressively places the supernatural element in close relation with some of the characters that conform to a distinctive expression of inward movements, on a spiritual plane. His figures do not appear undignified despite being nude in form. His oil paintings present an altogether different environment amounting to a narrative sequel. His powerful drawings of couples are presented in dynamic colours. His colours are loud and lines vibrating and dominating, particularly in his charcoal drawings. He struggles to achieve a certain degree of authority, even when that authority offers him little scope to reflect with absolute freedom. One cannot arrive at Amit’s dramatic way of The Lexicon Collection

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interpreting the meaning behind his work, in a single look. However, there is enough space in them for one to form an idea about the versatility of this emerging genius-in-the-making. In all his works the underlying thought represents various aspects of life’s sensitivity to human relationships. Excerpts from an interview:

moment, when thought and form assimilate to give birth to a feeling on the plane of spiritualism, that art is born. I feel that we are all naked beneath our skins. The difference is how we think about and accept ourselves, as formless souls, or as a physical body. Apart from that figures and lines they are very prominent in my work.

What is the subject and theme of your paintings? There is no particular subject that I work on, as subjects and themes change with time and experience. My first solo show was based on the famous writer Jai Shankar Prasad’s poetic work Kamayani. Basically I like working on the objects of day-to-day life in the context of human relations.

What is your style of painting? I started with making sketches and since then have acquired several skills of experimentation. I had done portraits in realistic forms, compositions in semi-realistic form, but mainly my style is figurative. I had done a series on Khajuraho in which I had described its sculptures as realistic and proportionate figures, with exquisite facial expressions and body rhythms.

What are the things which are prominent in your work? It is a thought, because thought when traversing the mind and heart, with a brush of feeling and experience, on alighting on the canvas create an identity of their own. The colours lose their individual identity and an expression is born and starts breathing as a creation. It is that

What feelings do you undergo when you face a blank canvas and how do you start working on it? When I face a blank canvas there is no concept or story in my mind. It is absolutely blank. But when I put one dot or a line on a canvas, I feel something that is not possible to explain and that is how the journey begins. Whatever I do, or feel, is very

spontaneous and I depict it at that very moment. Otherwise I lose the continuity of that particular thought. What is your process of working? Whatever comes to my mind I depict that very concept in one sitting; otherwise I feel I am not doing justice to my work. Later on only, do I add colours and forms, beautify or correct it technically. Which medium you like the most? Charcoal, but I work on all mediums, like water pastels, oil, acrylic, ink and mixed media. In charcoal work, I am able to capture the inspirational moments in their originality and am able to finish my work before the intensity of those moments starts diminishing. How do you decide on colours? Do they have any impact on life? The selection of colours for me is not a deliberate process. Sometimes we have to choose colours in accordance with the subject. I think the treatment of colours has an impact on life. I like harmony in colours and abhor a riot of colours. The Lexicon Collection

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Tell us about your latest series. It is ‘Nostalgia.’ It is based on the childhood games which today’s children don’t like to play. They are happy with computer games and I am trying to depict that how happiness could be achieved with the most insignificant of things, such as a child’s game. What do you think is the role of art galleries? The contemporary art scene commands huge market value. Many contemporary art galleries that primarily focus on this genre of art have a flexible and experimental setting. In other words, the exhibitions are quite progressive and intrepid. These specialised galleries display, exhibit and keep in stock the best collection of contemporary artworks. Where does Indian art stand in the international market? Although Indian artists are getting acclamation in the international market but their work has been purchased largely by the Indians residing there. No doubt the Indian art industry is booming and it surely has a lot to offer to art connoisseurs and the ■ global art industry. 89

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SHADES OF LOVE Love is the most important thing in the universe.

Aditya Dev Qualification: Post Graduate from Himachal University, 1991 Shows: Participated in many Group shows, Solo shows and exhibitions in India and abroad. Book published: Bheed ki Barf; Poems and paintings titled, Dard Apna-Apna and a collection of short stories Film: Tele Film telecast from Jalandhar Doordarshan, based on my novel Awards: Several, in India and abroad. PH.: 9810148359, 9213923294, 011-45532188 E-mail: elloragroup@rediffmail.com

aint what you feel about a subject, not just what you see. This is what artist Aditya Dev Sharma strongly believes and that is what his paintings depict. Right from his childhood, he had an inclination towards art and an artistic atmosphere at home helped him to take to painting as more than a hobby or a profession; it became his life. A self-taught artist, Aditya feels that woman is a source of creation and that is why he likes to depict relationships between men and women, who are responsible for creation. In his works, one can find the overwhelming presence of women which tend to switch from realistic touches to the abstract. The paintings made by Aditya many a time turn their backs on the pictorial and the visually delightful, like the sky and turns towards what has fantasy, poetry, music and a lot of the unknown. He enters the unpredictable space by his own volition, through paintings. His drawings explore incentives to show human relations and associated emotions which create deeper and more intensive meaning. In his The Lexicon Collection

drawings, through his mystical, dynamic lines there is a continuous transformation of the negative to the positive portion of life, which makes a balanced and proportionate picture, albeit in an abstract composition, using various tones at different levels to evoke the senses. Besides being an artist he is a poet also and has written two books, Dard Apna-Apna and Bhid Ki Barf. He feels that poetry describes a painting and painting is another synonym for it. He is also the recipient of the Bhiku Ram Jain award for his painting titled ‘Connection 1’. Excerpts from an interview: How did your interest develop towards the field of art? Every human being wants to express his feelings and for that one requires a medium. The medium can be varied; it could be through writing, or some artistic expression. In my view artists have inborn artistic qualities. Academic qualifications only polish your talent. When I was in college, I used to write poetry and started drawing as an illustrator. I then turned to sketching many drawings from story books.

A journey in progress

How do you decide your subjects and themes? We are here to create something which is possible when we love each other. Love is the most important thing and necessity of life in the universe and has different shades. Your figures have no definite form. Why? I like to paint figures in abstract forms and landscapes. My areas of thought are very vast which I try to portray in my paintings and poems. My sketches are about feelings and relations that have no particular shape. Their forms exude a lightness that balances their movement on canvas. There is great tranquility about these images, which are clear records of my emotions. What sort of colours do you like to use? Every relationship is woven with enormous love and spiritual colours. Therefore, I depict it in its natural way and mix them smoothly to make them more powerful. I feel that every colour has its own depth and mood and, according to the requirement of the paintings, I choose colours and, here, the experience of the artist helps a lot.

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You are known as someone who likes to experiment with your medium a lot…Could you tell us more about it? I started with black ink on paper and the water colour medium and have experimented with oils, acrylic and water colours, trying out various kinds of layers and textures. In your opinion, are art galleries beneficial for artists? I feel that art galleries have become totally commercialised these days and are treating artists as objects. When we become an object, our emotions are drained and once we lose our emotions the aesthetic beauty of a paintings is also lost. What does the future look like for Indian art globally? Indian artists are very expressive and that is the reason that they are getting acclamation at the international level. Indian art is very subjective in comparison to international art which is based on techniques and their content is metallic. Indian art is gaining popularity because it has a feel, emotions and it has a touch of humanity. Another factor The Lexicon Collection

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which contributed to this growth in India ’s art market is the availability of Indian art online Recently, various exhibitions in the world have introduced Indian artists. What do you think about their popularity? I think this is a golden period for Indian art. It has come from the change in the economy. It’s great that Indian artists are going global. International exhibitions will help artists to realise the value of their work and at the same time break the myths regarding Indian art, which is promising for its future. Who are the artists whom you admire most? As a painter, it is M.F. Hussain. Because of him, Indian art got acclamation at the international level. He is the person who has changed the definition of art. The work of Souza, Picasso, Tyeb Mehta and S.H.Raza are also remarkable. Tell us something about your next series. My every series is based on the relation of man and woman and its basic content is love. Now, I want to give a touch of spiritualism; so my next subject is based on Krishna tatva. ■ 91

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FASCINATION FOR THE COMPLEXITIES IN HUMAN FIGURES Art with an arresting composition of people interacting with each other.

Annu Naik Qualifications: Diploma in Fine Arts from Sir J.J. School of Art, Mumbai. The first four years of the course were completed in Abhinav Kala Kendra, Pune, and the final year in Sir J.J. School of Art, Mumbai. Shows: Annu Naik has held several solo and group shows in Mumbai, Pune, Bangalore, Chennai, Pondicherry, Kolkata, etc. and abroad in the U.K. Norway, Sweden, Germany, Spain, Jakarta, Dubai, Tanzania, Bhutan, Canada and the USA among other countries. Her canvases are part of private and public collections all over the globe. Sotheby’s and Christie’s have also auctioned some of her paintings. Ph: 26274548, E-mail: naikmum@hotmail.com

hen nowadays, the works of acclaimed artists often lie beyond the comprehension of the ordinary man, Annu Naik’s paintings come like a breath of fresh air. The magical richness of the vibrant colours she brings from her palette, the exquisite compositions of figures she spreads on the canvas and the grandness of the vast rural background that she creates, weave an impressive feast for the eyes. Annu Naik’s fascination for the complexities in human figures is evident everywhere in the minute details she so lovingly creates with her brush. “ I have always admired the human figure. I find it extremely interesting and use it as my visual vocabulary,” she comments. Unassuming in her demeanour, Annu’s charm lies in a simplicity untouched by her fame. She generously credits her success to her mother and her husband, who have been the mentors of her artistic career. Although she has held more than 50 shows not only in India but also in several other countries, earning much praise and repute, she is not resting on her laurels, but continuously The Lexicon Collection

painting and exhibiting her work with a rare enthusiasm. Undoubtedly, Indian art is richer by this. Excerpts from an Interview: How much influence did your family have upon your pursuit of art? I was extremely fortunate that even after marriage, my husband, Murli Naik, himself a reputed artist, goaded me into furthering my art career. In the more than three decades we spent together before his demise, he constantly inspired and motivated me to evolve as an artist. What kind of formal training did you get? I attended the regular school and the art school simultaneously. From 7 am to 11 am, I studied art; from 11a.m. to 5 p.m. I went to school and in the evenings from 6 to 7 p.m., I learnt dancing! It was a very busy schedule. Later, my parents sent me to the prestigious Sir J. J. School of Arts where I was able to hone my skills under the best of teachers. This is where I met the man who was to become my husband. He was the seniormost student of art and I, the juniormost!

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Have you always wanted to paint? Although from childhood, I sketched and painted, I dreamt of becoming a sculptor. My mother, however, was reluctant to let me study in far-off places and encouraged me to concentrate on my painting. She provided me with as many art materials as she could and I too did my bit by selling my hand painted cards and earning money. How would you describe the life of an artist? It is definitely not an easy life in the beginning when you are trying to find yourself and gain recognition. You need to augment your finances by doing other jobs. I too have worked in a newspaper office and as an illustrator for several magazines like Sarita, Mukta and Caravan. I have also been employed as an art teacher in Bal Bharati School till the birth of my daughter, when I resigned. With the passing years, of course, both of us were blessed with successful careers. We started to hold shows of our work from 1973, and then on, we had at least one exhibition a year...a trend I am following even now. Now, I devote myself fully to my painting, and of course, with recognition, my work sells very well both in India and other countries.

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What medium do you use for your paintings? Mostly oil paints. I have only done a few paintings using mixed media. I prefer oils especially for getting the ‘transparent’ effect. Apart from brushes I use spatulas. What usually are the subjects of your paintings? My paintings are about relationships. There is always an arresting composition of people interacting with each other...it is as if each painting tells a story. Human relations interest me immensely and this I portray in my work. I always try to include a water pot either of metal or clay into the picture. Water is a symbol of fine social feelings; in its stillness lie both the past and the present. My inclination towards Rajasthani scenes can be explained by my love for the vibrant colours of their attire, their ornate jewellery and the alluring grace of the womenfolk, all against the barren backdrop of the arid desert. Which artists do you admire and respect? As a student, I was very impressed by Amrita Sher Gill, Van Gogh and Gaugin are also some of my favourite painters. I admire the bold strokes of The Lexicon Collection

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M.F. Hussain's work. Kishen Khanna is another painter whom I respect. What is the normal procedure you adopt when painting? With an empty canvas in front of me, I begin to think about what I wish to put on it...I make imaginary sketches in my mind...and then I sketch extensively on paper and finally choose the image I wish to portray in my painting. When I get the inspiration, I finish several paintings in a month...and there are times too when I do not paint even a single one! Is there any message which you would like to give aspiring artists? They should realise that there is no short cut in art. One has to work hard and be true to oneself without falling to the temptation of copying another’s work. Respect and acceptance by the art world has to be gained. Just painting a dozen paintings does not make an artist! A word of advice: All in good time! As a painter matures and evolves, his work will automatically brings him good money. ■ 93

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THE NOVELTY OF BEAUTY Real beauty always looks fresh, art and beauty being co-related.

Vigyan Vrat Qualifications: M.A. Fine Art, Drawing and Painting 1966, Agra University Agra Diploma in Fine Art, 5 Years, 1976, from Rajasthan, India Shows: 38 Group shows, 25 Solo shows, 15 camp shows in India and abroad International camp: 2007 ‘Art Fusion’ at the Global Arts Village, New Delhi, India. Participation: Participated in so many exhibitions Awards: Awarded many prestigious awards. Collections: India and abroad Murals: Kendriya Vidyalaya No-3, Ring Road , Delhi Cantt., India Mob: 9810224571, Resi.: 0120-2535138 Email:vigyanvrat@yahoo.com Website: www.vigyanvrat.com

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rtist Vigyan Vrat is a versatile person. Apart from being an artist, he is a poet and ghazal writer also and four collections of his ghazals and one doha collection have been published. He is also a theatre artiste and has acted in a number of plays and penned the title and other songs apart from acting in a TV serial Vapsi. The artist originally belongs to village Tera, near Meeru, in Uttar Pradesh. He got educated in Daurala, the seat of India ’s first sugar mill, also near Meerut . The depth of his educational background can be judged from the fact that he had Hindi, Sanskrit and English along with painting as subjects in his graduation. He is a qualified artist also, as he has done his MFA from Agra University and then pursued a fiveyear diploma course in art from Rajasthan. Vigyan Vrat is a widely travelled man and has toured different destinations throughout India and also visited a number of foreign countries. He has been living in Delhi and now in Noida, since long. Despite this, his roots with his native village are still intact. His is from a reputed landlord family in the village. The Lexicon Collection

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He says that you can take a person out of his village, but you cannot take the village out of him. This notion applies well to his personality. His rustic honest nature is amply reflected in his poetry, ghazals, dohas and also in his paintings. His artworks are simple and free from unnecessary clutter. They do not confuse a person but establish a dialogue with him straightaway. The artist gives its credit to his subjects, saying that spontaneity provokes him to draw them. Excerpts from an interview:

They come to him or her spontaneously. As an artist, I can say that subjects inspire me. Rather I should say, they provoke me. They are all around me in the surroundings, in the shape of overwhelming experiences. I paint them spontaneously.

When did you realise that you should be an artist? Actually there has never been a period in life when I did not know my artistic potential. Right from my childhood days, when I reached the age of reason, I have been drawing. So it is out of context to pinpoint the exact date when or how I realised that I should be an artist. Art is my second nature. It is indispensable for me, akin to other bodily functions like eating and breathing. I do my artworks impulsively.

Your words have weight. But can you elaborate it? Okay, I explain it. Boys have many girlfriends. A boy may love one of his girlfriends too. But it is not enough. The girl he loves should also reciprocate with equal force. Otherwise there is no meaning in the love between them. His love will become a oneway affair and will lead him nowhere. Can this type of love ever fructify? Never. Similar is the case with doing artwork. An artist loves his subjects. His subjects should also love him. Otherwise his paintings will lack force. My subjects choose me. Every painting is like a girlfriend for me. It is never a one-sided affair. With this metaphor you can

How do you select your subjects? An artist does not have to select his subjects.

What is it that drives you to do artwork? I do artwork for myself. As I said earlier, art is my second nature; it is indispensable for me like other bodily functions such as eating, sleeping or breathing. I do my artworks impulsively.

guess the intensity of love that develops between my paintings and me. This is also the reason why my paintings are simple and free from clutter and, as some critics say, touch the heart of the viewers. What mediums do you use? I have worked in all types of mediums. Nowadays, I am mostly working in acrylic medium. Have you developed your own style of art? I draw in figurative and abstract forms. Have you done some realistic work also? Not too much. I feel that the creativity of an artist is tested when he or she works in abstract forms. Realistic paintings do not give you much space to play with your imagination. You have to follow certain patterns. There is no scope of creativity, as an artist has to draw what he sees around him. But in figurative and abstract work an artist has to visualise. He has to visualise his subjects. It takes time. The longer the period an artist can experiment with his visual on canvas or paper, the stronger is its effect. The resulting painting is more compelling. The Lexicon Collection

What are your views regarding the commercialisation of art? Art has spread its wings. Previously, art was confined to royal people. In ancient times, art got patronage in temples. The temple art of Ajanta Ellora and Khajuraho and innumerable temples scattered across the country is an example that artists of those times got patronage from temple authorities. The royal dynasties are long since gone. Temples are constructed not for the sake of art but for usurping precious land. The commercialisation of art started with dealers. The compulsion of artists is another reason. Take me for example. I make paintings but I cannot keep storing them for an infinite period of time. So if some of them are sold regularly, it is okay because this fetches money that is required to continue my artwork. Any message for the viewers? Visual art is for enjoyment. Beauty is for one to enjoy. And the real beauty is that which attains novelty every second. It has been said in our Sanskrit literature, long before the English poets said it, that real beauty always looks fresh; every moment, it ■ attains novelty. So enjoy beauty; enjoy art. 95

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ART IS A JOURNEY OF FAITH An artist whose canvases are anchored in emotional strength.

Surekha Sadana Surekha Sadana is a self-taught artist. She has been on the panel of designers of many large business houses, like Neptune Overseas FZE, U.A.E.; Universal Trading House Limited, Hong Kong. Her works are in many private collections in U.K, U.A.E and Pakistan as well as with several other institutions and hotels in India and Dubai. Mob: 09899845608 E-mail: surekhasadana@hotmail.com Website: www. Surekhasadana.com

Attainment

hen you first meet the artist, you hardly believe what you are beholding. At least, you won’t believe that you are face-to-face with an accomplished artist. Yes, we are talking about Surekha Sadana, the young and charming artist based in Gurgaon. She has nurtured an artistic bent of mind since her childhood. Her parents wanted her to become a doctor, but she preferred to be an artist. Though she did her graduation in medical sciences, but soon found it unpalatable to her taste. She had a firm belief that she was made for art and not for dissecting human bodies. The outcome is she is doing well as an artist and is well established in her field. Quotes of two noted art columnists Keshav Malik and Aruna Bhowmick would suffice to highlight the talent of the artist. In one of his reviews, Keshav Malik writes: ‘With Surekha Sadana we delve deeper into space – onward toward the whirling galactic universes. It appears man will just not rest content with the ground beneath his feet, but reach out physically; artists though, reach out only figuratively: they The Lexicon Collection

mean to taste the majesty and the terrifying beauty of what is out there. Contemplation of the limitless is calming. It is this way the artist liberates herself from narrow confines.’ And this is what Aruna Bhowmick has to say about her: ‘Surekha Sadana paints in order to explore her growth and inferences from meditation. Even as she determines form and structure, the practice comes as a departure from the mundane, a transport to enlightenment, detaching her from whirlpool activities that ensnare modern society. To this end, her focus is on a cosmic glow that draws into its vortex those who desire inclusion. Her canvases are therefore anchored in notions of consecration and strength as manifest in works like Oneness, Devotion and Epitome. Gender biases are incidental, sans bitterness or angst, an effort to disseminate strengths secured both via artistic and meditative pursuits.’ Excerpts from an interview: Tell us something about your art journey. Actually, I am yet too young to tell about my art journey (laughs). My journey in art has just begun

and I have to cover many important milestones yet. I think the appreciation that I receive from the viewers and critics is the greatest morale booster to keep my enthusiasm alive.

that stretches far and wide. But its people are very colourful. Their attire is richly coloured. I feel I gained a lot from my native place which is soaked in the culturally rich surroundings of Rajasthan.

Please don’t take it otherwise, we only wish to know when you realized that you ought to be an artist. Well, I recognized my artistic talent quite early in life. I was so much sensitive in my childhood that even petty incidences would move me and I would at once set out to draw the sketches of such incidents.

Shed some light on your subjects and themes. Well, my artworks are woven around themes and subjects with a strong spiritual essence that sometimes bring into focus one's thoughts, dreams and realities.

Don’t you think you could be a successful medico? Actually, I could not be anything else except be an artist. But my parents wanted me to become a medico and I even took biology at graduation level. But my artistic inclination ultimately brought me into the art field and I fully enjoy what I am today. How did then your rendezvous with art begin? Well, my tryst with painting began at a tender age. I belong to Rajasthan and, as you know, it is a land of huge contrasts. It has the great Thar Desert

You have spent a long time in Dubai. How has it affected the artist in you? It is true that I had spent a long time in Dubai . But I feel that my stay there brought me closer to my Indian roots as I was passionately practising art in Dubai and became aware of the Indian-ness of my sources of inspiration for the first time. I don’t think the place made any difference to me as an artist. I used this time away from home to start thinking about the kind of subjects that I wanted to paint. What is the driving force for your art? Simply put, it is spirituality. I am a very spiritual The Lexicon Collection

person and strongly believe in spirituality. I feel it is the strongest driving force for my art. Is there any mentor in your artistic career? Renowned artist Mrs. Vijaya Bagai has provided invaluable contribution to my way of thinking and growth as an artist. Time spent with her was phenomenal not just in ‘letting go’ of preconceptions but also in giving me the confidence to think in my own way. What can we expect next from you? Well, I have done a number of paintings on the cosmic series. My coming works will be a continuation of this series. Next, I will take up spirituality and human relations. I am also doing a series on equality of religions as well as the preservation of nature. Are you satisfied with your achievements? Art is my passion. I create art, but still I am a learner. Learning is a lifelong process. My every painting paves the way for the next one. Serving the art fraternity is my first priority and then philanthropy. ■ All the proceeds of my shows go to charity. 97

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BOUNDLESS ART An artist whose hallmark is spontaneity.

Ashwani Kumar Prithviwasi Qualifications: B.F.A., M.F.A., Four-year Diploma & Two Year course - Industrial Training Institute. Shows: 24 Group and Solo shows and three Camp shows all over the country. Awards: Awarded by AIFACS, College of Art and Sahitya Kala Parishad Collections: India and abroad Presently working as Principal & Managing Director, College of Art. Mob: 9818513100 E-mail: akprithviwasi@gmail.com

ifferent human faces that showcase the different natures, moods, emotions and thoughts of human beings, are the soul of artist Ashwani Prithviwasi’s paintings. Basically a commerce student, this Delhi-based artist topped in his school and had a deep interest in playing badminton, and the flute and drums as well. An allrounder, Ashwani realised that it is necessary to choose one field to make it a profession instead of involving oneself in different activities. Suddenly, painting became his passion when he was in Class 12 and has still continued. He started his journey by doing wall paintings on the roads, but at that time his main aim was to earn money. Slowly, he came to know about the professional course and after passing out from College of Art in 1996, he had established an art institute Rangshala, and in 2001, his efforts took the shape of the Collage of Art and now he teaches his students with the same zeal that he had, while learning. Spontaneity has probably been the hallmark of his work. Selling paintings before they are created The Lexicon Collection

doesn’t make sense to this renowned artist. For him, art is both a passion and a pleasure. He says that he enjoys work and would love to continue to paint till the end. Excerpts from an interview: How did the thought of starting an art institute emerge in your mind? I think that it was pre-destined. I needed money for my father’s operation and then the idea of starting an art institute occurred to me. I had bought a rickshaw and keeping my paintings on it would go to different places to exhibit them. When Rangshala gained popularity, my confidence encouraged me to open a College of Art. Today, I feel that we need more such institutes to promote the real talent of the up-and-coming artists. Which subject fascinates you most? Two things always fascinate me – one is classical art that is realistic – and other is contemporary or abstract art. I like to combine both the aspects in a very balanced manner. I believe that a mixture of both the elements is very necessary to get a real painting.

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Why only faces? I think the face is the most attractive and valuable part of the body. It is so expressive that everything displays on it, irrespective of whether you want to reveal it or not. It is like a screen which is absolutely beautiful and attractive. We can judge from the face of an individual about his or her thoughts and feelings. Both male and female faces I paint and in phases. Just as life has different phases, the face too, has varied phases. What is the technique you use? After a lot of experimentation, when you achieve perfection, then it seems that you have no limit to explore. You get openness, an extension, and that is why I believe in depicting with an open heart and mind. I don’t like to restrict myself. I don’t like boundaries. I love playing with colours. I show realistic work in an abstract manner. I use bold strokes and lines to depict my themes. What is your opinion of Indian art? Indian art and artists are growing very fast because of globalisation. Today, it is not very difficult to go abroad and if an artist goes to other

countries or sees the art work of the international artists on the Internet, obviously the differences between us and them would decrease, which has a positive impact. The art scene in India has gained tremendous internal momentum and I only see more and more people getting involved with the field of contemporary art. As the circumference of the Indian world grows, I hope the institutions — museums and art schools — as well as the media grow and operate in a more enlightened fashion. Do you think that the Internet is playing a negative role in this field? I don’t think so. We can’t blame a non-living thing for our mistakes. A person should have the courage to accept his or her flaws. The Internet is a medium of exposure but those artists who want to earn money without any effort use it in a negative manner. Otherwise, one can learn and gain so much by surfing the Internet. But yes, copying others’ paintings is not ethical. Are art galleries beneficial for the artists? In my view, they are promoting only established The Lexicon Collection

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artists. They open galleries for the purpose of profit. They are not promoting the artists in my opinion. But, if we look at the present scenario, we need more and more galleries for the promotion of art. Because of these galleries and their promotion and publicity the middle-upper class has started purchasing artworks, which was previously restricted to the upper classes. As an artist how would you define your success? I make paintings as well as painters and that is how I define my success. From a satisfaction point of view, I could say that being an artist makes me feel worthy of being alive, and I think I will keep on doing it even if the rewards aren’t there. Any advice to the young artists? Don’t focus on so many things or aims while painting. You should get involved with your work deeply if you want to achieve perfection. Do not go with market trends, otherwise you would lose your identity. If you like to paint thorns then paint them without thinking that others like flowers. If you make flowers to fulfill others’ wishes, it would not ■ flourish as it has not got your soul. 99

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SCULPTING SELF-EXPRESSION Thinking in 3D.

Suresh Kumar Qualifications: Started art education in 1990. BFA and MFA in Fine Arts. Shows: 69 Solo and Group shows, 19 Camp shows 2 International Symposiums. Awards: Six All India and State level awards. Collections: National and International collector. Mob: 9810761232 E-mail: sureshsculptor@gmail.com suresh_sculptor@indiatimes.com Website: www.sureshsculptor.com www.absolutearts.com

uresh Kumar is a master sculptor of the contemporary era. Originally hailing from Rewari, Haryana. Suresh is settled in Delhi. His profession is teaching and he has a good job at a government school. But sculpturing is his first love. It was his hobby during his childhood days to play with clay and make various models. Later on, when he took admission in the art college, he chose sculpture over fine art and graphics. Characters from day-to-day life engaged in daily activities form his subjects. Suresh Kumar has won a number of national and state level awards. His sculptures adorn the collection of many national and international celebrity homes. Excerpts from an interview: What inspired you to become a sculptor? I have been fond of playing with clay since my childhood. This hobby continued till I finished my school education. When it came to taking admission in Art College, I had to make a choice from among fine art, commercial art and sculpture. As sculpture was closest to my heart and I had already enjoyed it as a hobby, I decided to take it.

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Thinker

Moreover, it is the stream that provides you with an avenue to express yourself through three dimensional figures. What are the basic requirements for being a sculptor? The first and foremost requirement is an interest in sculpting. If you have no or little interest in a task, you can never gain expertise in it. On the contrary, if you are interested in something, nothing can stop you from achieving it. Secondly, one must be ready to work in any condition. In sculpture, one has to begin with soil clay. So you should be ready to work in an untidy space. The third thing is creativity. You are given simple raw materials and have to give them a definite, meaningful shape. This is something that requires creativity. Thus, one must have devotion and willingness to work under the guidance of a senior artist because it is only a senior artist, who can teach you the finer aspects as well as the technicalities of the craft. What are the raw materials required in sculpture? There are a number of raw materials. Clay is the

starting material. It is a very flexible medium and a beginner can learn a lot from clay modelling. Then there are wax, wood, synthetic materials like fibre and resins, various types of stones, ranging from black, white, pink to white marble. Then come metal, preferably alloys like bronze (scrap and slab), brass, Rose and Wood metal, rocks, cement, plaster of Paris (POP) and nowadays, assembling is also in fashion. That makes use of composite techniques. Finally, every piece of sculpture requires chemical treatment also. Hence, a good sculptor should possess a sound knowledge of these chemicals and their reactions also, to give stability and longevity to the sculptures. In what ways is sculpture different from fine art? Actually, both these arts – sculpture and fine art – are part of visual arts. Only, the mediums are different. Otherwise, both of them require a high degree of visualising capacity and then expressing your visuals in the medium of your choice. The sculpture, however, has an advantage of creating your subjects in their dimensional fashion. I feel that 3D objects are more expressive.

Couple

Who or what has been the greatest source of inspiration for you? Day-to-day activities and surroundings inspire me the most. In our surroundings we find that man-woman relations form the core of our society. This relation is the same everywhere but its manifestation is different. This subject has so much appealed to me that I have devoted an entire series to it titled, Man, Woman with Horse, wherein the horse depicts motion and vitality. Who are your mentors in the field of sculpture? Mr S. S. Vohra, who is a teacher at the College of Art, taught me the finer aspects of bronze sculpting. Mr Biman Bihari Das taught me about portrayal. Last but not the least, Mr Ramesh Bisht taught me about clay modelling and chemical treatment of the finished sculpts. Please shed some light on the chemical treatment of sculptures. Raw materials used in sculpture are prone to erosion. Chemical treatment prevents this natural erosion and enhances the shelf-life of a sculpture. Expertise in chemical treatment comes with practice. The Lexicon Collection

Lover

Powerful women

What is the market value of sculptures? It varies according to the piece of work and also according to the sculptor. It also varies as per the buyer’s preferences. Some buyers like sculpts more than they like the paintings. They see more collection values in sculpts. In the end, the name of the sculptor does matter most of the times, as the buyers have a tendency to look for the sculpts made by established artists. That means, new sculptors have to struggle a lot? Not exactly. There are some brilliant new sculptors, who are doing extremely well and their sculpts sell by their names. It all depends upon now much expertise you have gained in your craft. What about tribal sculpture? Our tribal people are great sculptors, no doubt, but their sculptures are more craft in nature. A single type of sculpt is produced in large numbers, whereas creative sculpture is unique. Every piece is singular. Hence, such art pieces are costlier than tribal craft which otherwise may have good aesthetic value. ■ 101

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DEPICTING DIVERSIFIED MEDIUMS An artist in control of the basic properties of his medium.

Sneh Bhasin Qualification: B.F.A. from College of Art, New Delhi Shows: Six one-man shows and many Group shows all over the country. Participations: Art exhibitions all over the country, from 1986 to 1999 Awards: Airport Authority of India New Delhi; All India Art Exhibitions, Kolkata; All India Art Exhibitions Bharatiya Kala Sangh Trust, Jabalpur; All India Art Exhibition organised by AIFACS, New Delhi; Federation of Management of Educational Institutions, New Delhi, and many more... Collections: Lalit Kala Akademi, New Delhi; Indira Gandhi Airport of India; Hotels like, Surya Sofitel, Grand Hyatt, Park Royal, IFFCO Khad, Mob: 9899527034, Ph: 011-45680785 E-mail: snehbhasinarts@gmail.com

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neh Bhasin was born in Delhi and is a BFA from the College of Art, New Delhi. He is a painter with a sophisticated sense of colour. His application of colours also changes and one finds that his paintings are crucial for the study of an artist and art in a chronological reconstruction of life and time. His works in transparent colours convince one of the artist’s superb control over the basic properties of his medium. He has a good command of techniques too. This veteran artist shows a glorious reach into some of the basic essences of the Indian ethos which refuse to be identified, specifically in terms of the five elements, but formulate an undeniable aspect of the Indian psyche. The grid that he generates, generally of hill features, gets internally linked into unison because of well-managed transparent colours, even while the individual features come out alive on their own. Projections vary, highlighting individuality by choice of colour, but the accent invariably falls on the group. In 1983, he had his first group show at the Jehangir Art Gallery, Mumbai. His very first series was based on the theme of a horse. He feels that The Lexicon Collection

the horse figure is very attractive and muscular and a symbol of force and action. His painting demonstrates the artist’s universalising of the horse theme into a vision. Executed in diversified media and mixed media, his paintings are marked by the same liberated reaches into colour, experimental techniques, vivifying new ideas subtly by bringing them under control, by comfortably mastered stylistic devices. Line quite often goes delirious with a sort of linear lyricism and the freedom it enjoys just enchants the eye in such works in which colour drips from top to bottom under mysterious controls, thus creating an illusion, honed from the energies of colour itself to gain added dimensions of vision. His famous series Melting Mountains has a charming pattern of colours as well as that sophistication which only a person well tuned to the gradations of colour can achieve. Excerpts from an interview: How did you get interested in art? My father is a commercial artist and seeing him, it was very natural for me to get interested in this field. From my schooldays, I had started doing sketching and painting. It was like a passion for me.

How would you describe your work? My work is abstract and realistic both. I feel that if the realistic work of an artist is good, then only can he do wonders in the abstract, otherwise sensitivity would not show. It is important to have a proper knowledge of realistic painting and the anatomy. Be it is an anatomy of a human being or any animal or bird. For depth, one needs to be perfect in the realistic form. Are you working in different mediums. Why? I like to experiment and after two-three years I create new techniques and accordingly my mediums. I work in water, oil, mix media (water, oil and collage) and pastel colours. It is not only the brush that I use; in fact, I prefer experimenting with paper, different instruments, cotton and various textures. And I like using vibrant colours depending on the requirement of the theme as vibrancy of colours gives the feel of spontaneity. Do you painting with computer also. Does it help you achieve the desired effect? Yes, it helps in achieving the desired effect but for that, if you are painting realistically, you have to

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Under the water

draw realistically first. That’s just the way it is. First, I prepare a painting on the paper with oil or water colour, after that, I scan it and save it on the computer. Then I work on it directly on the computer. It helps a lot as you can experiment by changing the colours, or using different layers.

commercialized and this is not favourable for the growth of an artist.

What is the outlook of new artists towards art? New artists maintain a very commercial approach. After taking their degree in art, they don’t have the patience to wait for some years to learn more; instead, they would like to exhibit their work. They want name, fame and money, without any struggle and experience. Secondly, they are more into abstract painting and misusing the abstract art without understanding the depth of it. Do you think that the Internet has enhanced the creativity of an artist? There is no doubt that the internet has expanded this field by giving exposure to an artist. But in a way it is not good to depend fully on this medium. It is very easy for an artist to copy the good work of another artist and sell it in his name. See, these days, art has become more The Lexicon Collection

What is your ultimate dream? I want to work till the end. I am not very commercial or money-minded. I am satisfied with my current situation and the response. Which famous artist appeals to you most? Obviously, M.F. Hussain. His ideas are unique and his themes are based on current topics and events. Whatever technique he may use, his individuality and lines remain the same and that depicts his individuality. What is your latest project? At present, I am working on the OM series in mixed media and water colours. It is a depiction of spirituality in different forms. The shape of OM is so appealing that I had decided to play with it, keeping nature in the background. I have added flowers, the sky, water etc. OM is a symbol of peace and energy and its sound has the power to purify the atmosphere. It comes under the category of ■ calligraphy painting. 103

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A LOVE AFFAIR WITH ART An artist dedicated to positivism and spirituality.

Seema Jindal Qualification: Pursuing Ph.D. in interdisciplinary subject in Art and English Literature, B.Ed., M.A. (Eng.) (5th in Univ. & 1st in Dist.). B.Sc. (Medical) Shows: 10 Group shows and Solo shows in all over the country. Collections: India and abroad Mob: 9999029280 E-mail: seemastrokes@gmail.com www.seemastrokes.com

onnected to timeless realm of aesthetics since childhood, with many solo shows to her credit, Seema Jindal has made creativity and positivity her lifelong creed. Pursuing Ph.D. in Art and Literature, her works are high on symbolism, particularly her signature blue figures and the sunflowers. Her distinctive, vibrant, bold style and bright, basic colours are very contemporary in treatment and are guaranteed to brighten up any interior. But more importantly, behind every colour of her palette there is depth of thought of a very sensitive mind that requires the viewer to participate in deciphering the piece through personal interpretation. When did your love affair with painting begin? Painting was always my getaway since childhood where I connected with self and explored deeper meaning to life. The urge and desire to paint stayed on even when I grew up and went to university. I did a master’s in English and poetry became my medium of expression but my love affair with paints only grew. After a creatively

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stimulating career in education, I decided to follow what gave me absolute happiness. I realised that, in the end, it was more important for me to be myself. This realization brought lots of peace and tranquility which gets reflected in my paintings. Why do you prefer to use primary colours? For me, as a contemporary artist, self-expression in its simplest, purest form is the way to be. It’s meditative, almost therapeutic. Hence, my colours are usually bold and basic. Blue conveys a very elevated state of consciousness. It is a level of consciousness where there are no external and internal boundaries. I have given this colour to the women in my paintings in contrast to Indian mythology where only male Gods like Krishna or Vishnu have it. I wanted to depict that all of us have the Godly quality in us irrespective of class creed, clothes ….The golden of the yellow warms my spirit and reflects immense joy in form of my trademark sunflowers. The vibrant red balances the blue and yellow with its energy. Off late, I have been painting my new series ‘silent conversations” in monotone and have got rave reviews for it.

Buddha

Besides colours, what other symbols do you depict in your paintings? There can’t be any lines drawn and there can’t be boundaries in terms of creative freedom and the use of art as self-expression. My internal happiness and brightness gets reflected through the prominent sunflowers in my paintings. Usually the eyes in my figurative paintings are closed symbolizing their human revolution through introspection. In my painting ‘Hope’, the chaos of this world is depicted by rough surface and threads of acrylic paint. My abstract works are a sort of journey of self-discovery, peeling layers and layers off my sub conscious mind. Have you put these ideas into a single painting? All my paintings are complete in themselves and capture the moments lived. One of my paintings ‘Unmukth” has a woman twirling in gay abandon in a field of sunflowers. Her internal blissfulness makes her oblivious to anything else. The joy she feels inside is reflected in form of the sunflower fields around her. The blue of her body symbolizes the high state of consciousness which sets her apart from others. It is the state of ‘the being’ being

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in supreme realisation. It is the state of complete harmony and happiness. Looking at the body of work around, the Buddha is a common occurrence in them. Why? My Buddha is not the depiction of the deified form, but of any person who has the strong faith in himself or herself to have the Buddha nature. It could be you or me too. For me, the Buddha is an embodiment of the Right Path, a person who is aware or has both of his or her potential. My Buddha is the symbol of utter happiness, compassion, courage and wisdom. Too often we spend our days denying our potential and looking for answer outside ourselves, unaware that we already possess everything that we need. Closed eyes are symbolic of the fact all answers are within us. We have the ability to be completely happy, totally victorious, irrespective of what's going on in our environment. We need to consistently manifest our Buddha nature and to finally value ourselves. Does your own mental make-up at the time of painting a work affect its output? Having the right frame of mind and a pregnant The Lexicon Collection

Happiness in togetherness

moment are both important to creation.It is only when the subject touches my soul and stirs me to the extent that I cannot keep it inside me anymore that a painting comes into existence. So even when there is turmoil, the subconscious looks for solutions to balance things out. Does canvas size also have a message? A blank canvas entices me and excites me to create….urging my mind’s eye to visualize and arrange and rearrange colours on the canvas of my mind. The size in a painting is no criterion to capture and express my thoughts. You have a well maintained website. How this digital convenience has furthered your art interests? www.seemastrokes.com is my window to the world. I am able to connect with my viewers and with art lovers from India and all over the world without interfering with their thought process. Thus, giving them the freedom to give their interesting interpretations and form a different relationship with the paintings they see. They ask further questions and the understanding keeps growing. Lots ■ of art lovers buy my works through my website. 105

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D A. Peace I B. Peace II C. Heritage D. Dancing girl

THE POWER OF REALISTIC DEPICTION Art is about creating a deep message to convey the idea behind realism.

Sanjay Soni Qualification: Self-taught artist Shows: 40 Group shows, Seven Camp shows and four Solo shows all over the country. An Art Exhibition at 27 Art Street, (Geneva, Switzerland ), in August 2009. Khushi: India on Canvas A charity art auction (Malaysian High Commission, New Delhi), on 6th February 2009 . Hobbies: Landscaping your thoughts, Portraying your emotions in the most profound way, so that they touch you to the core of your heart. Mob: 9811576290, 9212424590 E-mail: art_sanjay@yahoo.co.in artistsoni@gmail.com www.artistsoni.com

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he making of art on his own terms is like igniting a spark of genius lying dormant within the soul of artist Sanjay Soni. Propagating himself as a ‘self-taught’ artist, Sanjay Soni is a firm believer in the idea that art is a God-gifted treasure to which he has applied the technique of art making, after observing and learning at the studios of the greats, such as Vijendra Sharma, Prithvi Soni and others. Added to his natural talent and his ability to imbibe technique from these sources, is his close observation of his surroundings, so that the canvas signed as his work, bears the imprint of these diverse influences in full measure. What was the technique that you imbibed from artists such as Vijender Sharma? Artists of this calibre made me understand the power of realistic depiction in art. I realised that reproducing such reality was not a way of depicting what is seen by the naked eye only. It also involves creating a deep message to convey the idea behind the realism. This essence made all the difference between mechanical portrayal and true art. The Lexicon Collection

What are your favourite subjects for portrayal? I have done a lot of work on the people of Rajasthan. Each trip into the deserts and cities of this state infuse a fresh energy into me. I always carry my camera and the images are first clicked into shots in the camera. Then I begin to paint these images not as exact portrayals, but as people who have something to say, through my canvas. Their faces depict the experience of desert life first-hand. What are the usual objects to enter your canvas? There are invariably stones painted into these pictures because I believe that stones are symbolic depictions of the sufferings and hardships that they, the desert people, have endured through life. The environment in which I set these images is a reflection of the inner peace within the soul and the figures are thus peace offerings, placed in an environment that is harsh and desolate even. What parts of Rajasthan have found place on your canvas? I usually paint the area around Udaipur , Jaipur, Jaiselmer, as I am drawn to the culture of this region. When I make a close study of the features of

Peace III

the people, I am attracted by their enormous turbans, their fancy beards and moustaches. I look at their faces and they seem to express something special. The time of day and the colour of the landscape and their attire gives the final touches to my thought process and the painting is born. The countryside and the people of Rajasthan is a favourite theme with a lot of artists. Have you explored any other aspect of realistic art, besides Rajasthan? I am always attracted by ruined monuments and spend a lot of time daydreaming about the secrets hidden within their walls. I also begin to think of the mental make-up of the workmen who must have built these structures. Even though I do not know any of them in person, I am familiar with all of them. I feel that these wonderful palaces and temples could not have come up without the workmen putting their soul into their work. That is why they are so unique and so magnetic in appeal. When did you first get interested in painting the temples of Khajuraho and Konark? I had joined an art camp group that was sited at

Khajuraho. It was organized by Greenwood Art Gallery , Delhi. On my return, it was my painting of the temple ruins, done in a monochromatic palette, that clocked the first sale at that group show. I felt that I had struck a chord with my viewers through this painting and thereafter, I chose to develop this theme further. The more I painted figures and settings from this place, the more I was taken up by the beauty and finesse of the temple carvings, their architecture and even the facial expressions created in stone, centuries ago. What is the theme of your current series? My current paintings are based on a Buddhist theme. I was moved to learn of the destruction of the Bamiyan Buddha in Afghanistan. The meditative mood that these images create within the mind of the viewer, have kept me engrossed with this subject. Since you paint from a spiritual angle, what is the evocative wellspring behind the Buddha series? As the Buddha is a symbol of peace and human compassion, my immediate interest in these paintings is to depict such emotions. But going The Lexicon Collection

Man with a camel

Khajuraho

beyond this symbolic touch, there is another level of consciousness urging me to paint the Buddha in various forms. For me, the Bamiyan incident did not mark the end of a heritage treasure, but the resurrection of a new understanding. International condemnation of this act made me realize that the Buddha is venerated for his great teachings and that came to the fore after the destruction of the stone image. As you are such an inspirational painter, have you thought of painting on the present state of the human environment? Issues related to saving our earth is a theme I have enthusiastically supported. So when a camp organized by the OXO Foundation chose the ‘Save the Earth’ campaign as an art subject, I joined in. I have contributed a work that takes into account the global aspect of climate change and have concentrated on the polluting effects that are weakening our fragile earth. Symbols such as a vulture, a saint on the other end, and incarnated figures alongside the saintly visage, make the message of saving the earth ■ crystal clear. 107

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D A. Intimacy B. Shyama C. Blue Horse D. Krishna

Shakuntala

EUROPEAN CLASSICAL RENAISSANCE Personal thoughts go into her definition of her patent theme.

Saswati Chaudhuri Professional training: Graduate in Visual Arts (drawing and painting – western style) from Government College of Art and Craft, Kolkata, 1986 Awards: ‘Jr. Fellowship Award’ in Visual Art (painting) from Dept. of Culture Ministry of Human Resource Development, Government of India, 1998-2000. Honoured by District Collector, Angul, Orissa in 1995. Awarded by Indian Society of Oriental Arts, Calcutta in 1982, 1984 and 1986. Phone: 9810421656, 9910343499 Email:Saswatichaudhuri5@gmail.com www.forms-india.com

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t was the second visit to Saswati Chaudhuri’s exhibition that influenced me to take up her paintings in the next issue. Her current series, reveals enough reason to generate admiration for her mastery over her art. An eminent art critic aptly described her effort saying, “I am looking at her personal thoughts as if they are essays to define her patent theme. The drawings and paintings throw open the doors of her ability and allow me to glance over her shoulders and understand the manner in which Ms Saswati figures out the way to compose a miraculous flood of human interest subjects and compassion, through art.” On her canvases Saswati paints in her reactions to an ordeal in Indian society with the torment’s truth becoming the notion engaging her art, thereby making the canvas a rhetoric to spell out reality. Her artworks, therefore, compel every mute spectator to take up the matter, resulting in their finding a solution to the problem. The artist attempts her subject by creating enough differences between each theme. She sometimes sketches a flood of expressions conceptualized on the faces of women. At times the The Lexicon Collection

Trinayani

face is that of a woman who is thinking of her beau making love to her. At other times she is a 21st century socialite, who is living a ‘Page 3’ existence. At times, she strives to portray child labour or the dual faced people whose life is part natural love, as something worth pondering over. Ms Saswati essays her human interest approach in a completely European Renaissance era style of painting. She depicts her characters as they are depicted in the European Classical style amalgamating this technical element into her own fluid lines and forms as a key to understanding her artistic approach. In showcasing humanity and civilisation, she merges the European Classical way of realism with abstract forms. Ranging from quick sketches to large-scale canvases, her formulated expressions of individuals evoke the current reality of Indian society, its women and other human concerns. Besides, what makes her paintings so enriching are the lines, a constant part of her canvases. Lines display an intimate relationship between her feelings and her characters. These lines have been represented as a symbol of love or smile, or a desire that wants to live fully. They are sometimes

boundaries meant for women, or the pride of the fairer sex, which may seem to be harmful for the growth of any society. A recipient of the Junior Fellowship Award in Visual Art by the Culture Ministry, Department of the Human Resource Development, Ms Saswati’s series indeed is worthy of a revisit. She colours her reactions in the facade, which are the real, not the ideal. With few exceptions, she is one of the artists, who do not go ahead with what the society wishes to see, but what she longs to see. Excerpts from Interview: Give an account of your life in brief. How did you get inclined towards art? I always say it is your destiny; no one can check you from getting this. I had sharp skills in mathematics during my schooling, and wanted to pursue electronics engineering in the future. At times, I used to sketch human figures, especially Rajasthani people, as I belonged to that place during childhood. One of my uncles, therefore, advised my parents – late Mr Ramaprasad Chowdhury and Arti Chowdhury – to get me enrolled in an art college. Yet, I had completed BSc

Divinity to adore

(Honours) in Math in the morning shift and at the same time pursued my graduation degree (regular) in Visual Art from Kolkata Govt. College of Arts Craft. What underlying theme do you paint? I express myself as a ‘humanist’. I usually draw human mindset, reactions and an ordeal of society, along with a message to the people. I always influence to portray the society’s evil effects and voice my opinions through my art works as I feel I am an active part of this social order. What is the European Classical style? This style has emerged from the time of the European Classical Renaissance, when Leonardo Da Vinci, Michelangelo and Raphael created great masterpieces. I specialized in Western style of drawing and painting during my study in the art college. This study highlighted the European style of art and we had learnt a lot about old master techniques, which influenced me broadly and is clearly evident in my style. Give us a brief detail of your colour choices. I apply bright colours to showcase the ‘Page 3’ The Lexicon Collection

Solo exhibition 2008

life, or give sometimes dull effects to evoke the harsh experiences of any reality. However, they vary from subject to subject. Earlier, I used to splash soothing pastel shades, but now I have shifted to a more bright and contrast application of colours. My favourite palette encompasses ultramarine blue, white, yellow, various shades of green, vermilion and black. I also put in forceful and colourful lines to give the feel of a subjects’ movements. What artists inspire you most? I love to appraise the figurative works of Michelangelo, Leonardo Da Vinci and Raphael from the Renaissance era. Among Indians, I am really inspired by Nandalal Bose and Gaganendranath Tagore from the Bengal School. Among contemporary artists, I am fascinated by the works of Bikash Bhattacharya, Isha Mohammad and Ganesh Haloi. Fortunately I had them as my mentors when I was a student. What is your next venture? It’s definitely an exhibition and I hope for a good response from viewers and art lovers that inspire the artist to march towards the goal of perfection. ■ 109

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D A. Eternal bondage B. A look – alike image C. Till the time we have a face D. A new cloud of love

UNCONFINED ART

Everything speaks, expresses and communicates, feels the artist.

Ankur Rana Qualifications: BFA (Painting) College of Art, New Delhi in 2003, MVA (Painting) Lalit Kala Sansthan, Agra in 2005, Art Appreciation Course, National Museum, New Delhi, in 2002 Shows: 50 Group shows, 4 Solo shows in India and abroad. Workshops and seminars: Participated in eight workshops and seminars in India . Awards: Merit certificate, College of Art, New Delhi, in 2003 Collections: India and abroad At present: Working as a freelance artist. Ph No: 09810092228 E-mail: ankurrana2005@gmail.com website: www.ankurrana.com

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want my work to sprout out of the material world, is the dictum that directs the art of Ankur Rana. Keen on making his images speak, express and communicate with his viewers, not through real-life reproductions but through a surreal form, has made Ankur Rana into an artist with a thinking mind. Having crossed the threshold of his first solo show, Rana is now poised for bigger achievements, but offers a clear vision of figurations within a context all his own. Excerpts from an interview: You have used the female form in nearly all your surreal settings on the canvases. Why? It is only an artist who has the liberty of painting a sky red. If you see my female figures, they transcend reality and express the surreal. The form may be familiar, but I change the body colour, to show purity through a white overlay, a dark shadow on the face to indicate eternal bondage and a berry brown colour palette to suggest her presence. A pink composition on the other hand, expresses the colour of love. So my form, though feminine in proportions, changes compositional colours according to the thought process. The Lexicon Collection

There is also a very interesting treatment of the background in your works. Is there a message conveyed through it? As you can see, art is not a game with rules. The artist is free to run in any direction with his colours and forms. That is the joy of free play, the ‘mazaa’ in working with art. After one academically learns the techniques of painting, one has to branch out into the imaginative, poised for real change, and then does the true artist in one emerge. Though outwardly your works show a close connectivity, have you undergone change as you progress in art? Of course, I believe that every artist’s work changes with the times. As I’ve never tried to imitate, I have never held back my art. I’ve changed my own art in the course of the growing-up process and so have the figures in my works. What changes have the figurations undergone over the years? As you can very well make out, the female figure in my art is a modern woman, somewhat westernised. But being a universal thinker, my

Evening sports

woman is not without roots. She has traditional touches as also the backdrop of the paintings. In combination, the backdrop and the form become the basis of my Indian essence. What unique modern touches have you included in the backdrop? If you notice, I have not applied flat colours or definitive forms. The designs used are cutouts, in shapes that go with the theme. I use stencils to impose these cutouts and enjoy the process of layering that it creates. There is thus a hint of collage in the works by this process. What is the frequent motif that you like to include in your painting? I like to include the motif of traditional ambi. It is very much integrated with our culture. It is a symbol of our age-old customs. It is always present in Indian Kashmiri shawls and in indian sarees. How did you get this idea and what inspired you? Immediately after finishing my postgraduate studies, I was employed as a creative designer in a concern making Kashmiri shawls. This gave me a

chance to come in contact with traditional motifs. The job helped me to understand the richness of our tradition and since then, whatever I paint, whether it be reality, fantasy or poetry, I try to extract motifs from nature and set them in a modern ambience in my paintings. What is the other source of inspiration for your art? I move beyond the traditional and find inspiration in modern art, fashion, themes and models. I am inspired by bright colours in a monochromatic palette. I am fond of using silver in the backdrop as it has a reflective character and conveys the fact that we humans are a throwback of the society in which we live and grow. It is a positive reflection and a commentary on society too. What are the themes that inspire you? I like to delve into themes of a romantic nature. I try to depict my ideas through couples, on the canvas. The woman’s feelings about her partner are expressed through her silence in an introvert form. Her presence is enough to express the idea of The Lexicon Collection

The Madonna

romance in the mind of the viewer. In particular, it is the beginnings of a first love in human life that finds expression in my art. I am moved by the internal chemistry such love creates in the couple and express it in the form of a self-image. What is the uppermost thought in your mind when you conceive a painting? I begin my work with the idea that nothing is inanimate in this world. Everything speaks, expresses and communicates. The only thing needed is to heed their voices as a sympathetic soul and the artist is that agent who brings the soul into view for his viewership. How do you communicate this with the viewers? For this I don’t have to make deliberate effort. My brush strokes spontaneously fill this feeling in the images I paint. Spontaneously, such colours and shades appear on the canvas, that make it dynamic. I firmly believe that every colour has a frequency that matches well with the frequency of the viewers. The rest is anybody’s guess. In other words, a painting, a good piece of artwork speaks about ■ itself and it speaks louder than words. 111

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D A. Conversation with birds-I B. Conversation with birds-II C. Sangeet D. Woman with a flute

CREATING A FUSION WITH FOLK ART An artist highlighting the areas of joy in life.

Ragini Sinha Qualification: B.F.A. (Patna University) Shows: 20 Group shows, Five Solo shows and seven Camp shows in the country. Collections: India and abroad Participations: Participated in eight art exhibitions in India. Awards: State Award Govt. of Bihar 1982; PUCUS, Patna, 1985; Power Grid 1997-98; Bihar Kala Shree, Patna 1997; Indian Academy of Fine Arts, Amritsar, 2002; Honoured by Shilpi Sangh, Patna, 2008. Mob: +91 9810269815 E-mail: ravishingragini@indiatimes.com

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here is no exaggeration in the statement that India is a land of art with colours permeating life here and painting being a way of living here. No wonder then that folk art abounds in the country, so much so that every region has its distinct style of art. Preserved and perpetrated by the common folk, these art forms became folk art. Every school of art has its own distinguished painters and artists, whose works can be identified by their names. But there are hardly any artists, whose art works create a fusion of fine art with various folk arts. Artist Ragini Sinha is an artist with this rare distinction. A BFA from Patna University, Ragini is settled in Gurgaon and teaches art at DAV School, Noida. She belongs to a region which has a rich tradition of folk art called Madhubani. As such, it was but natural for her to be inclined towards art since early childhood. Finally her interest in art took her to Patna and she joined the BFA course in the prestigious Patna Art College. She has seven solo shows to her credit and has participated in a number of group shows. Teaching small kids art is her profession and creating art is her passion. The Lexicon Collection

Ragini’s art style draws its wellsprings from a semi-realistic figurative pattern. The influence of folk art is clearly visible in her paintings. While Madhubani is the style that is generally followed by her, the eyes of her subjects show a clear influence of the Rajasthani style. Tribal life forms the subject of her paintings. In some of the paintings, a spiritual bent is also noticeable. Ragini attributes this to the influence of her Guru, Prem Rawat. Nevertheless, her paintings give a message of life by highlighting the areas of joy in life, as is experienced after finding some desired object. Even the theme of her first solo show reflects this flow of joy aptly borne in the title ‘Ullahas’. Excerpts from an interview: When did you realise that you should be an artist? I realised my artistic inclination quite early in life. Actually belonging to that region of Bihar, which has a rich heritage of traditional art, initially I would draw on the floor of our house. On festivals or gala occasions, it was my duty to decorate the floor, threshold and courtyard with rangoli, using riceflour and traditional colours.

Ullhas-I

How was the response from your parents? Well, my parents always encouraged me to pursue the field of my interest. I think, it is due to their cooperation that today I can identify myself as an artist.

particular region. I have painted them doing household chores and working in the fields. I have painted them even while bathing. I am glad that the critics have liked these paintings and adored the very fine colour treatment in these paintings.

Who are your mentors in this journey of art? Well, there are a number of people from whom of I have learnt lots of things. My guru Prem Rawatji imparted a spiritual bent to my thinking. His teachings are clearly visible in my work. I regard Amrita Shergil and Jahangir Sabawala the Mumbaibased artist also as my mentors. I learnt landscapes, human figures, texture and colour treatment, etc. from him. The paintings of Amrita Shergil have inspired me immensely.

What is your view about modern art? I think it is an expression of our inner thoughts. Just as thoughts are in abstract form, so is the abstract modern art. Some critics say that modern art has no meaning, but it is not true. Since our thoughts come and go in rapid succession, if a viewer can keep track of these lines and figures, you will find that they are interconnected. Here lies the beauty of modern art. It encourages you to navigate through a painting, just as one does, through a maze or a game.

You have created several paintings on women. Is there any reason behind this? No, no, there is no particular reason for this. Being a woman myself I have closely observed the life of women. Besides, I have had the opportunity to stay in various regions. Inadvertently, I have studied the local folk art of the region of my stay. Also, I loved to draw the womenfolk of that

Are you also doing modern art? Yes, I have also done modern art on abstract themes. In fact, I have done a show of landscapes in abstract art. Usually, the landscapes are associated with realistic paintings. But if you closely observe landscapes, it shows great illusion, like a mirage. The Lexicon Collection

Ullhas-II

How do you look at art? For me art is a medium of expression. As such, it is a very powerful medium and can influence the society in a far-reaching way. But unfortunately, it has come to be confined within the reach of a few affluent class. Its reach must be increased. How much time do you manage to spare for art? Teaching is my profession, it is true. But I am an artist first. I do art daily like a ritual. But I do not do it haphazardly. I make proper planning before starting a painting. As an art teacher what potential do you see in children? Children are no doubt good artists, but I find that they lack sincerity. This perhaps is due to the burden of studies and peer pressure, as the present atmosphere is highly competitive. Are you satisfied with your achievement so far? I love to experiment with art. I want to do something different. I want to venture into the field ■ of sculpture also. 113

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THE SUBSTANCE OF ART An artist who has mastered the figurative technique.

Laxman Kumar Work experience: Bal Bhavan (From childhood) As an artist at Rais Studio since 1978, Khosla Studio since 1985 in Delhi and also specially invited by Late Shri Ram Kumar Sharma Ji 1988, Mumbai. Shows: Many shows during 2000 to 2009, in various galleries in India Collections: Continental Furnishers, Golden Picture House, Ravindra Pictures, Jagdish Chawla (Art Critics), P.K.Jain Shantiniketan, Art Indus, Santusthi Complex, Indraprastha Art Gallery, New Delhi . Art Camp: Joined Art camp held from 25th December to 8th January, 2010, organised by Art Mall . Mob: 9873208701, 9899492141 E-mail: ashu.grills@yahoo.co.in

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n artist conceptualises his vision to give it a materialistic form which could connect the emotions of the viewer to the art on view. Art as such does not have any hard and fast definition; it can be stimulated and amended as per one’s own choice. Though art exists in each one of us in one or other form, the only thing which is missing is its realisation. Painting is something beyond the creation of mathematical and geometrical shapes; there are no boundaries which could embrace its infrastructure. In simple words, art is the colouring or sketching of a canvas with one’s imagination. Artist Laxman Kumar’s figures though mere imagination, reflect a real essence of life. From making posters, boards and banners for films his journey in the field of art is marked by outstanding contribution without any formal education or training in this area. Without any solid background and surrounded and faced with adverse situations, he was able to achieve his goals because of his commitment towards the world of colours and expressions. A mastery of the figurative technique has led him to experiment with several The Lexicon Collection

symbols. A touch of royalty and liveliness forms the major essence of his paintings. Deeply inspired by the artist M.F. Hussain, who also used to paint film posters at one time, Laxman wants to become famous like him. Excerpts from the interview: As a figurative artist, what do your figures represent? I like to spread happiness and positivism in the world and accordingly my figures depict happiness, beauty, smile, softness and above all a sense of liveliness which is very essential for living life fully. As you have not had any formal training in an art school did this affect you in exhibiting your talent? I have not attended art school. I am self-taught and continue to study and try to learn. I believe in the importance of training to develop a sound understanding of art and to build skills in technique and materials, but I don’t think that an art school is the only answer to that need. I don’t deny this fact that it does affect. If you don’t have any degree, society does not easily accept your work and talent. Time and again you have to prove yourself.

Sai Baba

Has your style changed over the years? There is no style as such; for me art is spontaneous. I’ve been quite aware of what I want to use and have only used certain things. What sort of colours do you like to use? I like using different and unusual colours, but I use green more, as it enhances the liveliness I wish to express through my paintings. What are the subjects that you like to paint? Subjects are varied, but I always try to add textures. I had a series on Mother Teresa, Rajasthan. Now, I am working on Krishna, Buddha and Sai Baba. You seem to have been inspired by Raja Ravi Verma’s style. Why is it so? Raja Ravi Varma is the icon of Indian art. I have always been inspired by his school of realism and that is what I am depicting in my painting, but with different colour schemes and techniques. I have added texture and jewels to give a 3D effect and antiquity. They look original and you can feel the texture by touching them. My paintings are figurative forms with a royal touch.

Musician

How difficult was it for you to make a mark in this field? I did not get the chance to study after 10th class because of my poor financial condition and the thought of enrolling myself in some art institute never occurred to me. So it was not very easy for me to establish myself without any proper training and guidance. But the desire to improve my work and style, helped me to reach the level where I am today. This process needs time, perseverance, and hard work. For me, painting is a mode of selfdiscovery.

In your opinion, how have you evolved over the years as an artist? Every person or an artist evolves over the years. I have been able to find satisfaction by imbibing the right thoughts, applying the right techniques, and coupling it with passion in my work. This has kept me focused on the path of evolution as an artist.

Do you think that contemporary art has changed over time? I would like to just point out the fact that though in the immediate context art might not appear to be part of the common life, looking back historically, art has always represented its time. So the context of contemporary art has changed over time along with the changing social, political, economic context-right from the cave paintings to the art of today. We are all part of the same revolving and evolving world, though we might not recognise it at the passing moment of the present.

Do you feel satisfied as an artist? From the satisfaction point of view, yes, being an artist is satisfying in every sense of that term. I consider myself fortunate that I am able to do it 24x7 and the material rewards are incidental to the main act. I could say that being an artist makes me feel worthy of being alive, and I think I will keep on doing it even if the rewards aren’t there.

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How has been the viewer response to the works? What I hope people take away from the show is a sense of what could be; this idea of a cognizant, non-passive nature capable of looking back at you…

Ten years from now, where do you see yourself? My utmost dream is to work honestly and work all through my life. ■ 115

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A BRUSH WITH A METAPHOR OF ENVIRONS A belief that art reflects one’s own state of beauty.

Ramesh Terdal Qualifications: Bachelor of Fine Art, Gold Medal 1995, M.F.A (Chitrakala Parishad) Bangalore University, Karnataka. Shows: Many Group shows and Solo shows in various galleries in India. Nomination: Member for Karnataka Lalit Kala Academy, Bangalore, Govt of Karnataka, 2001 to 2004 Awards: 2000: Shilpa Kala Academy; Junior Fellowship from HRD Govt of India, New Delhi; Hebbar Art Foundation Award; 2nd Southern Regional Camlin Art Exhibition, Chennai. Mobile: 09686271850, 09911950102 E-mail: rameshterdal@gmail.com www.rameshterdal.com

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erdal’s paintings reflect the juxtaposition of the individual with society, of the public arenas, the stasis of the fine line that exists between peace and chaos. His art reflects an ever-oscillating rollercoaster ride of the journey of life, his figures both static and alive at once. His work does not scream out a message, but a sense of imbalance or balance weaving at the edge of a chasm confronts the mind’s in his art. This Bangalore-based artist who has a studio in Delhi also, had passed his MFA from the Chitrakala Parishad, Bangalore, in 2000. A winner of nationallevel and state awards, Ramesh has participated in international art shows in different countries. His collection of art works are adorning the galleries of Mumbai, Delhi, Goa, London, France, Finland, Texas, Florida, Italy, New York, Germany etc. He believes that all art reflects one’s own ideal state of beauty and he looks at this phenomena as a concept of personal transformation. His work has therefore a certain meditative connotation, as it strives to uncover an ideal of harmony and stability that remains however, forever ephemeral. Urban and popular subjects have led his brush to a The Lexicon Collection

different exemplar. Unlike many present-day artists who combine these themes with multi-media techniques, Terdal uses paints alone. His brush work is his strong point in art though occasionally he resorts to using spray features. Excerpts from an interview: When you did first realise your talent as an artist? I had never realised that I wanted to become an artist. My father had a habit of making sketches and my brother used to read about conventional art and I think sub-consciously in my mind it was registered and when I received appreciation and encouragement from the school teachers, I had decided to go in this field. What is your medium and choice of colours? For the past 13 years I have been constantly experimenting. Today, my medium is acrylic; sometimes I work on silk screen also. Initially, it was rustic brown which was dominant in my paintings for almost 10 years. When I came to Delhi and got the chance to learn, the colour palette changed to different colour forms. Now, I am using every colour to depict the realities of society.

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How would you define the style of your paintings? It is figurative. I had also worked in that style where figural corporal delineation merges with abstract colour fields and creates slightly dreamy surrealist shapes. I blend geometric forms with kinetic strokes, as well as iconographic objects. When I paint, I try reproducing my sense of imagination, my experience as well as my emotions in the form of different textures, and brush work. Sometimes my works are a metaphor of society and sometimes they are open to interpretation. What are the themes you have explored in your art? My expressions through creative mediums are in the form of an inner journey. It reflects how I conceive my existing potential and remain true towards life. I started my journey in art with the journey through life as the subject of my painting. I chose people from every walk of life – people with a violent streak, the cruel gunman image, people who exposed their bodies for commerce. They make their body into an earning source, leaving in their wake black shadows over society. I also

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created the supreme image, a power-dominated image, how passion intertwined with one’s day-today life, an imbalanced society. I feel India is a country where life and struggle do not traverse a parallel way, but go along an endless zigzag route where competition is rife even in the manner of living; where lives are continuously struggling with an unknown anxiety, fear and hatred. In this struggle and while juggling with these opposing forces, I am finding hope in the smile of a child, and among innocent faces. What are the sources of inspiration for you? My work, for quite some time, has found inspiration, from the mass media and borrows its motifs from that source. The black and white photographic images adopt a documentary style of address, presenting a snippet of everyday reality, much like what we are likely to find in a newspaper or magazine clipping. Apart from this, the other sources are stencils and advertisements in magazines, photographs, like cut-out figures and billboard hoardings. The cut-out has become a vehicle for me to transport populations to different localities and The Lexicon Collection

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diverse societies. It also helps me to look at the social fabric today. After all what is our social structure? What relationships are we building up within our society? I do not believe in concrete structures like the state and religion. They are both artificial entities. In reality there are no marked boundaries – it is a palimpsest. Do you paint for art’s sake or commercially? Obliviously for art sake, but I don’t deny that I paint for commissions also. I don’t want to compromise with my creativity or the quality of work. How is the environment of art in India? In India an artist can survive easily, but Indian artists only work from the sales point of view, whereas western culture and attitude is totally different. They do art for the sake of art. Right now the effect of recession is visible on the art market. At present nobody is interested in investing in art, unlike earlier, when it was a boom time for artists. Even then, if one works with full dedication, one can achieve long-term returns in due course. I strongly believe that the government should support the ■ artists. 117

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PORTRAYING FOLK TRADITIONS IN VIBRANT COLOURS An artist with a style that highlights the semi-abstract form.

Ramesh Thorat A visual artist working as a freelancer for the last twenty years. Worked with Set Makers Pvt Ltd Mumbai, as Assistant Art Director for three years in set designing, art work, and background paintings. Qualification: Diploma in Drawing and Painting (Fine Art) Shows: 5 Solo shows and 24 Group shows, including participations with many art galleries. Awards: Camlin Foundation, Mood Indigo Mumbai 1985; Chitari Academy of Fine Arts, State Award 2006; Bombay Art Society 2008; Several other awards Collections: India and abroad Website: www.rvtarts.com Ph: +91 98500 91771, +91 20 65003531 E-mail: rvtart@gmail.com, rvtart@yahoo.co.in

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une-based artist Ramesh Thorat is a freelance artist. He is a diploma holder from Kalasagar Kala Mahavidyalaya of Pune. His native place is also Pune, though before settling in Pune, he has worked in Mumbai with set makers for three years. His job was to draw sketches for various sets. While working with them, the artist always felt something was missing, as his creative cravings remained unsatisfied. So finally bidding adieu to the set maker’s company, he came back to Pune. Ramesh is a full time artist with his home and studio both located in the lovely ambience of this hilly city. He is also the founder of Fusion Art Foundation, an organization for art promotion, that he established along with some like-minded fellow artists from Goa , Karnataka, Mumbai and Delhi . The artist has worked in oil colours for 16 years. In the year 2008, Bombay Art Society awarded his paintings in an all India competition in Indian style art. Folk life and traditions form the theme of Ramesh’s paintings. An entire series of his paintings has been devoted to a folk custom prevalent in the interior regions of Maharashtra . It is called Jagaran The Lexicon Collection

Gondhal. According to this custom, on the occasion of the marriage of the elder son of a family, a goat is sacrificed and the entire village shares in the festivity. The inspiration of making this series came when the artist attended a Jagaran Gondhal. Ramesh has created this series in charcoal and acrylic in semi-abstract form. The first ever exhibition of these paintings, 35 in all, evoked overwhelming response in Bangalore. These paintings repeated their success story in Mumbai and Goa also, where viewers thronged the art gallery to watch the exhibition. Goa-based art critic Neeta Omprakash wrote in the newspaper Goan Observer about the paintings: “His paintings show the offstage romance of the folk performance in a stylish form. His concern about the dying folk culture and tradition is also apparent…his paintings are the forceful energy in themselves…they have rhythm and strong visual appeal.” Excerpts from an interview: Your paintings seem to have tribal people dominance. Why is it so? I have spent a long time among the tribal people. I have seen their living from close quarters.

Untitled-V

Their culture and customs as well as traditions impressed me no end. In my paintings, I have tried to highlight this same tribal culture and customs. It is but natural then that you can see lots of tribal people in my paintings. But my effort is to highlight their traditions. Where did you get the inspiration for creating the series on Jagaran Gondhal? Once, while I was spending some time in a tribal village, a function of Jagaran Gondhal was organized. Those tribal people invited me also to join the celebrations. This function is organized on the occasion of the marriage of elder son of a family. The whole atmosphere turns carnival-like. A goat is sacrificed on the occasion, amidst lots of festivity, in which all the village people join. The entire function is very colourful. I was impressed very much to see their enthusiasm and particularly the boldness of the tribal ladies. That gave me the inspiration to draw a series on Jagaran Gondhal. What is the unique feature of this series? All the paintings in this series have been done in bright vibrant colours and they give the message

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of life. They tell us that despite all the hardships, how these simple tribal people enjoy life and celebrate these special occasions. How was the response of the people to these paintings? The first exhibition of these Jagaran Gondhal paintings was held in Bangalore . The response of the people was just overwhelming and many of the works were sold on the spot. That way, I can say it was highly successful commercially. The next show was held in Mumbai. Hyderabad-based filmmaker Mr. Parshuram had also visited it and bought two paintings. He is so impressed by these works that he has assured me that he will sponsor a show of these paintings in Hyderabad in September/October, this year. The third show in Goa was also very successful and brought good response from art critics. Almost the entire media of Goa gave it wide coverage. What mediums and style did you use in this series? I created this series in charcoal and acrylic and used bright vibrant colours to highlight traditional customs. As for the style, I made these paintings in The Lexicon Collection

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semi-abstract form. You will notice figurative forms merging softly with their background. What are the other subjects? I am going to make a new series of symbolic paintings on Tantra. These paintings will be overflowing with spiritual feelings. Why Tantra? Tantra is also an integral part of our old traditional lifestyle. Every state has different Tantra traditions. Unfortunately, people associate it with black magic. Very few artists, like J. Swaminathan, Velu Vishwanathan and Som Sharma of Delhi, have created paintings on Tantra. Still fewer of them have succeeded. In the market, items based on Tantra are selling like hot cakes. Is the market demand the main force behind the popularity of these paintings? No, no, I am not yielding to the market demand. My paintings will be purely artworks and will have a soothing effect on the mind of the people and bring harmony in the house. They will have ■ different colour schemes. 119

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D A. Where am I? B. The freedom of time C. A play with society D. The fool

THE REALISM IN ART Carving an image with clay.

Ritu Manchanda Academic Qualifications: MFA form College of Art, 2009; BFA form College of Art, 2007. Graduate from Delhi University, 2002. Professional Qualification: 4 years Diploma in Fine Art in (Painting) from South Delhi Polytechnic, Lajpat Nagar, New Delhi in 2001. Shows: Participated in many shows in the country. Awards: National award from All India Arts & Crafts Society, 2009; First student award from College of Art, Delhi, 2009 Student Scholarship from College of Art, 2006 Ph: 29911089, 9990520428 E-mail: rituartist@gmail .com ritu_artist@yahoo.co.in

ne look at the sculptures of artist Ritu Manchanda makes one realise one is face-to-face with a pioneer. Instead of conforming to making sculptures of stone and bronze, she has opted for the most fragile of mediums, namely clay. Instead of making her figures and forms in average and ‘safe’ sizes, unlikely to break during firing or handling, Ritu flaunts lifelike figures that make exquisite garden elements, showstoppers in hotel foyers and in expansive spaces, where the rose-tinted shapes virtually demand admiration. Inspired by the works of legends such as Rodin and Angelo, Ritu had ample support from her art-loving parents to go ahead and follow her passion for sculpture. What elements of your medium attract you to it? I find the softness of clay to be specially appealing to me. It helps me to express my artistic traits to the full. Clay is so malleable that carving on it is nothing short of inspirational. The body language that it yields is unbeatable and, above all,

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it leaves the artist with unbounded freedom to be creative. Who are the Indian maestros who have been your role models? Among Indian artists, I am an abject admirer of Ram Kinkar Baij and Amrita Shergil. In the contemporary sphere, I admire the spirituality in the works of Valsan Kolleri. I find that his works strike a good equation between the traditional and the modern and that is also what I like to convey through my art. How were you drawn into sculpture as your chosen course of study? I tried to check out all the other choices, such as painting, graphics and digital art, but all of them seemed inadequate in comparison. It was the three-dimensional character of sculpture that was its most alluring magnetism and I just could not compromise. I felt that this was a form of art that I could see all around, rather than a linear etching or a surface painting. Finally, it was our college trips to south India and my visit to the temples that sealed my choice.

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You have strictly followed the realistic form in your sculptures. Even your figures are life-size. Is this not a restrictive choice? I find that realism and life-like figures are the best way of taking my creativity forward. For me, art is about sharing with people, and ordinary folk do not react to abstract art much. My forms can be understood and shared with all and people are drawn to such creations. I feel it is the duty of an artist to create art that draws others to it. In a country where people find spirituality embodied within a stone, then why should not a work of today make sense to them? What is your opinion about the various mediums of sculpture? For me, clay is the best medium for sculpture. Its texture is very close to the human skin tone and therefore figures acquire a naturalness. There is a softness to the feel of the material and thus it is easy to express inner beauty through such a medium. It is a spontaneous medium because there is no second stage involved. Casting is a secondary process and therefore it kills off the spontaneity of the artist. He is forced to chisel,

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Your figures are not standalone forms. Why? For me the clay images are not statues. They are life-like forms and therefore need to be placed within a setting. I imagine them to be actors on a stage and therefore each of my creations is playing a character on a stage. Placing them in isolation would therefore look incomplete and even incongruous.

What kind of dialogue have you chosen for the theatre? It is not daily conversation that I have in mind; it is ancient languages like Egyptian hieroglyphics, the tribal sounds of Adivasis and even animal sounds. This is not a put-on theatrical, but has been inserted wherever I have felt the need for such inclusions. After all, an artist is not bound to natural and national boundaries. There is always a let-off and flying to remote areas in our imagination.

How will you take the theatre idea ahead with your sculptures? To take the theatre idea further, I have created a large platform to simulate a stage platform. The traditional clay forms are placed on it in various postures – conversing, standing around or reacting to external stimulus. With lighting, background voices and music, the concept of a theatre is complete. It is also a marrying together of the traditional and the modern, with the clay figures linking with our tradition of carving and clay making, and the lighting and sound effects on stage forming a part of the modern and technical inputs.

Is there any other material that you have been working with? In recent years, I have tried my hand at marble. These are not full forms but torsos, extremities of the body, finished in both a smooth and rough texture. One of such works won the AIFACS Award for 2009. It is a black marble sculpture expressing the theme of a leisurely wait in a park. The limb is smoothened but the backdrop is chiseled, forming a striking contrast. The languorous posture is its telling point and gives narrative expressiveness to ■ the piece.

smoothen and do a number of other processes to the cast to give it shape.

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IN SEARCH OF A HIGHER CONSCIOUSNESS An artist who breaks fresh grounds.

Arup K. Biswas Qualifications: B.V.A., Ravindra Bharati University, Kolkata in 1992; M.V.A. with First Class, Ravindra Bharati University, Kolkata in 1994. Shows: 12 Group Shows, Four Solo Shows all over the country. A Solo show will be held at Jehangir Art Gallery, Mumbai in May 2011. Awards: Delhi State Award 76th Annual All India Art Exhibition in 2004, Junior Fellowship, Ministry of Human Resource Development, Department of Culture, Govt. of India, New Delhi and many more. Collections: France , UK , USA , Kolkata, (Birla Academy of Art and Culture), Mumbai and Delhi. Advisor: Art Discovery, a pictorial art magazine, published from Andaman and Nicobar Islands. Mob: 09871030176, Email: arupbiswas@hotmail.com

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apid advance, profound evolutionary changes in social life, science and technology, are a characteristic feature of the times we live in. These developments in an age of transition at lightning speeds, combined with space research, are so obvious that few would deny it. Then at least in its outward apparel, art too, does not stand still. It is surely for this that artworks now come in unusual, nay, unfamiliar forms. Easel paintings and the usual sculpture, for this reason, have almost been pushed aside to give way to video art, the installationdriven and other technology-based objects. With the improvement of technology over the years, artists are now more able to explore outside boundaries that they were unable to explore in the past. Now there is a trend of putting up art installations, using different mediums. Arup Biswas is one such artist who is doing installation work. The basic essence of the Biswas’ work is that as human beings, we must know ourselves, if we can, as we fulfill ourselves by performing great deeds. He feels that the installations make an impact not purely in a visual sense, but also provoke viewers The Lexicon Collection

by conveying the futility of defeating one another in the rat race of human existence. For him, painting has always been a passion, his vocation, rather than a profession. Excerpts from an interview: How would you define your art? It is semi-realistic or you can say that it is a conceptualised art. I like to depict the concepts of daily life. I feel that we should enjoy every moment of life and, through my work, I am trying to convey this message. In today’s materialistic world, when and how life finishes, we don’t realise. We should feel happy in whatever we have; otherwise, we would never be able to enjoy our life in spite of all the modern amenities. That means society and life both reflect in your paintings? Yes, because all of us are after power and money and both the things are attached with society. We want to live as per the norms of society. The fulfillment lies not in achieving the goal, the end result, but in the quest itself. One invention ends, leading to the beginning of a new discovery

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and thus man continues his journey. I have tried to portray this deeper search of a new path for higher consciousness. The destination for everyone is the same. So why this breathless hurry? My endeavour has been to depict this realisation in a very simplistic and natural manner, through my paintings. It seems that nature fascinates you tremendously. Why so? Nature is utmost, and destroying it means that we are destroying ourselves. Nature reflects in my paintings and I like using colours related with nature – green, brown, sky blue etc. Why did you leave open spaces in your paintings? First of all, it is to break the monotony. Secondly, I leave large areas of white spaces in between to give a realistic touch, a sense of openness and a down-to-earth symbolism. Our existence is like that of an ant in the ocean, but we try to project ourselves as being very great and this is what I am trying to show, by leaving large blank spaces on the canvas. It gives a good visual impact and I prefer to

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texture in my work. My effort has been to express the relevance of man in the context of the whole universe. Not only is there open space, a large area in your canvas is white also. Is it deliberate or a sort of experiment? It gives a good visual impact and I prefer to texturise my work. What are the individual aspects reflected in your paintings that makes you different from other artists? Earlier, I used to do figurative work, but now my composition is minimised. I have imparted a threedimensional effect in my paintings with the same special materials. There is an effect of installation also in my work. I want to get connected to a common man through my art. I want him also to understand my art, perceive it through his senses and appreciate it. You will observe content in the spaces in my compositions. That’s my USP. Tell us something about installation art. Installation art describes an artistic genre of siteThe Lexicon Collection

Quest-III

specific, three-dimensional works designed to transform the perception of a space. At the turn of a new century, there was a trend of interactive installations, using video, film, sound and sculpture. Does an artist get enough exposure in India? Yes, in India, every artist has an opportunity to explore and grow. With the improvement of technology over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past. There is a huge business for those artists who are honest and dedicated to their work. In the international market also, Indian artists are getting recognition and money as well. Thanks to artists like Jogen Choudhary, Tyeb Mehta, S.H. Raza, Souza, M.F. Hussain and so many others. They have given a good platform to Indian art at the international level. What does art mean to you? My happiness and fulfillment lies in my paintings, when I am totally immersed in my work. My art is my life. Nothing else gives me this sense ■ of achievement and immense satisfaction. 125

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D A. Mask B. The joy of touch-III C. The joy of life D. Message

OCEANIC INSPIRATION An artist discovers her spiritual links.

Vijaya Ved Qualifications: B.F.A. (Bachelor of Fine Art) from College of Art, Delhi University in 1996; M.A. (Painting) from Jiwaji University, Gwalior (M.P.) in 2003. Shows: 22 Group shows and 13 Camp shows all over the country. Participations: 25 shows all over the country. Awards: Road Safety Week Art Competition Award, New Delhi in 1994-95 Indian Traditional Painting Award, Sponsored by Kala Akademi, Narela, Delhi, in 1999. Presently working with Nav Siddhartha Art Group Delhi, as Life Member Mob: 9899708769, 98111 78769 E-mail: vijayaved111@yahoo.co.in, asurvedh@yahoo.co.uk

er medium is canvas and paints but her inspiration comes from the depths of the ocean and the heights of the sky above. Artist Vijaya Ved, explores the spiritual links between art and artist and has been interested in art ever since she can remember. Not coming from a background where art was a subject of family interest, Vijaya found her calling later in life, after she had become a full-fledged graduate in commerce. Excerpts from an interview: Did the academic studies in commerce help you when you took up art education? Of course; at first there seemed to be no direct link between commerce and art, but when I joined the College of Art in Delhi, I found that my earlier studies helped to mould my thinking and even influenced me by making me a thinking artist. What aspects of your learning came in handy at the College of Art course? I had joined the advertising course at the college, but soon I realised that my drawing was

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strong and developed. In addition, I learnt sketching, working on a canvas and thus my interest in painting began to mature. So when I saw the effect of colours on a canvas, there was no stepping back for me. Though you speak of a certain excitement when you see colours on a canvas, your works exude a sense of serenity and calm. How can you balance the two emotions? My themes in art, it is true, centre round the figures of Buddha, a woman and Krishna . But these are mere symbols of the joy that art reflects within me. In the figures, I try to draw the viewers’ attention to the thoughts taking shape within me. The process of shaping these figures introduced me into an enormous world that is altogether a new one and far removed from everyday life. I explore my states of consciousness through these images and achieve a sense of completeness in the right sense of the word. Coming to specificity, what does the lady figure represent in your artistic eye? The lady in the paintings is actually my self-

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image. I show myself on the threshold, with the door in the backdrop. It is a symbolic depiction of release by finding one’s own strength and values. There are also kites in the paintings symbolising freedom and also the power to fly. The woman in me can use the power of her being, to ‘fly’ to any heights she aspires. The yellow colour in the blurred backdrop is the effect of the outer world on her and the threshold is an indication of the final step into a world of her own, that the woman is about to plunge into. What does the Buddha figure in your works personify? The Buddha is a symbol of peace in the entire universe or Brahmand. The orange and green are sacrosanct colours that have a rich symbolism of sacrifice and regeneration. The colours in the works are not coded according to a technical code but denote the human being’s spiritual power to stand up. The open lotus in the hands of the figure is a sign of the regenerative power of human kind. Even women figures are sometimes portrayed in Buddha-like postures to signify that in every individual there is a Buddha resting in an inner niche

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and the masks held in the hands of the figures in the forefront remind the viewer that one must shed artificialities and discover the inner truth in life. Since your figures carry with them a baggage of spiritual messaging, how do you decide their placement on the canvas? The placing of the figures is totally determined by the concept I am trying to uphold. The central figure is naturally the upholder of the major idea and the figures and other details in the background and around this figure enlarge upon the central concept, to make the idea more explicit. The inner meaning that the central figure portrays makes its placement crucial, as a figure suggesting joy and power cannot recede in the background, whereas a figure conveying hope or inner forces is not necessarily placed in the foreground. There are also stray bits of calligraphy across some of your works. What is their significance? They are symbolic of the world of the human spirit. They are not present as a continuous thought process in this world and thus are placed in a scattered manner on the canvas. The linking The Lexicon Collection

The Sacred Path

threads that criss-cross the canvas are the saviours of this divine inspiration and kites attached to strings serve as vital carriers of this all-important message to humankind. Thus the painting, although on a very abstract theme, is grounded to reality by the use of calligraphy and other inputs. What are your favourite objects for symbolisation in your work? For me every small object in nature is the source of immense spiritual inspiration. It carries a deep meaning and staring long at a fallen leaf, or a broken branch, or a blade of grass rouses in my mind the wonders of creation. I believe therefore, that Nature is the best teacher for humanity and not just for an artist. What about the celestial bodies, like the sun and the moon? Do they evoke any response in your art pursuits? Much beyond the decorative and illustrative appeal of these celestial bodies, the moon for me is a figurative expose of human aspiration. The moon therefore is a symbol of success achieved through ■ intense, quiet and serene effort. 127

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D A. Bird B. Unfold the soul C. Efflux of nature-I D. Follower of Buddha

Dinesh Kumar Ram Qualifications: BFA College of Art & Crafts, Patna MFA (Painting) 1997, College of Art, New Delhi. Awards: 1989-92: Annual Exhibition, College of Art & Craft, Patna, 1992: 21st State Level Exhibition, Shilpi Kala Parishad, Patna . 1992: 6th All India Art Contest SCZCC, Nagpur 1996: 43rd Annual Art Contest, College of Art, New Delhi. Mob: 9810579323 E-mail: dineshkumarram@yahoo.com www.dineshkumarram.com

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INTERPRETING BUDDHA’S WORDS OF PEACE AND LOVE An artist who expresses his emotions directly through colours and forms.

inesh Kumar Ram is an MFA from the College of Art Delhi. He has won the 43rd Annual Art Contest held at the College of Art, as well the sixth allIndia art contest of the South-Central Zonal Cultural Centre, Nagpur. His selective participations include exhibitions at the India Art Gallery, Pune, the Jehangir Art Gallery, Mumbai, Lalit Kala Akademi Delhi, AIFACS, Pioneer Art Gallery, Habitat Centre, Delhi, Sahitya Kala Parishad, Delhi, Triveni Art Gallery, Delhi, Nehru Centre, Mumbai, and Birla Academy of Fine Arts Kolkata, etc. His collections can be seen at NGMA, SCZCC Nagpur, Lalit Kala Akademi, New Delhi , and also abroad. His work was part of the 49th National Exhibition of Art. Dinesh Kumar Ram is a painter of knowledge or gyan and ananda or joy, who unfolds the soul through a harmony of colours, a rhythm of lines and forms. In formatting his art, he uses abstract forms for depicting ananda and resorts to using human forms when he paints Buddha the embodiment of knowledge in a personified form. For his viewers though, Dinesh Ram’s art ideas The Lexicon Collection

take form and become interesting in themselves, without reference to a particular subject. He expresses his emotions directly through colours and forms and explores the affinity of the lyricism between life and nature. He immortalises feelings of joy, hope, love, ecstasy – through his melodies of colour. His sense of composition and colour in the paintings touches the soul and takes viewers into a world of fantasy, which is sublime in nature. The gorgeous and amazing range of colours on his canvases cannot leave the mind indifferent. The beauty and serenity of his works suggest his consummate style. The unforgettable saturated hues peculiar to his own style, exhibit a remarkable quality of expression in everything Dinesh puts his hand to. His thoughts are deeply influenced by the meditative powers of the Buddha. His works translate the great philosophy of dharma through his self-conceptualised forms and symbols, emanating into a contemporary art format. And though so many others have explored the same theme, Ram’s works express the challenge faced by him in trying to create works that are distinctly different yet familiar at the same time. While somewhere, it was the figure of the

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Buddha that stood prominent, elsewhere, it was lotuses, the banyan tree and its leaves, and the prayer wheel which completed the picture to evoke the spirit of peace and calm. For instance, in one of the canvases, the prayer in the Tibetan script occupies most of the space with the Buddha’s face painted at the bottom of the space. Then there is the meditating Buddha depicted from different angles. Excerpts from an interview: Tell us something about your background and the interest generated towards art. I belong to Hazaribagh, a district in Jharkhand. My mother was very good in doing embroidery with different coloured threads and the impression of colours had a long-lasting effect on my mind. I had also started making paintings and once took part in an art exhibition held in Patna. And at that time I came to know about the Patna Art College. I gave the entrance exams for Bachelor of Fine Arts and was selected. That was the beginning of my journey in art but, after joining the College of Art in Delhi, I got the actual platform to exhibit my art.

How would you define your style of painting? My style is realistic as well as abstract, but the thought and the theme of both the styles is the same. I interpret Buddha’s world of peace and love through the language of form and colours. My paintings are based on the philosophy and life of Buddha and I want to convey the same message through my paintings. I am particularly impressed by the Buddha’s message that it is necessary to have a balance between nature and human beings. In today’s world, both are facing instability because of global warming and we need peace and security and that is the main theme around which my paintings revolve. You seem to use a lot of symbols in your work. Do they represent something or they are simply decorative elements? I mainly use geometrical shapes as symbols. Triangular shapes which occur in mountains and circles in the form of the sun represent nature. Upward and downward triangles symbolise male and female forms. These symbols are not for beautification; instead they convey a message. The Lexicon Collection

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Famous artists who have influenced you? Jagdish Swaminathan and Jackson Polak. What is your medium and how do you decide on colours? I work in oil and, usually, Buddha is painted in light colours, but my colour palette is bright with red, yellow, blue, green and orange in it. And the challenge was to lend to the work tranquility and peace despite the bright colours. Big bold patches of colour filled in geometrical shapes play a major role on my canvases. What is your opinion about the present condition of art? Presently the condition is good. Artists are getting opportunities and promotion and I feel that the boom time was bad for the art fraternity. A harmony was broken due to that and people who had money but no aesthetic sense were investing in art. That period was not favourable for those artists who were working for the sake of art. Are you satisfied with your career graph? I am both satisfied and successful, in this field. ■ 129

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A VOYAGE INTO LANDSCAPES An artist who indulges in self-plagiarism.

Vimal Chand Qualification: M.F.A painting from Jamia Millia Islamia in 1993 Solo Shows: LTG Gallery New Delhi-1999; ANZ Grindlay’s Bank C.P. New Delhi-1999; Gallery Alternative, DLF. Gurgaon-2001; Lalit Kala Akademi, Rabindra Bhawan, New Delhi -2002 Group Shows: AIFACS Gallery, New Delhi - 1991 Krishna Collection Art Gallery , New Delhi-2000 Jehangir Art Gallery , Mumbai -1995-2000 Travancore Art Gallery-2007, Contemporary Art Exhibition, Karnataka Chitrakala Parishad, Bangalore-2010 and much more... Collections: Washington, Malaysia, Switzerland, India and some private collections. Mob: 9971553854 E-mail: vimmu_art@yahoo.com

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he landscapes of Vimal Chand can best be described not as impressionistic but as a collaboration of technique, mind’s eye and linear determination and spontaneous execution; the institution is always the undercurrent. A quick look at his work leaves an impression that Vimal is indulging in self-plagiarism. But if one is a little focused and one is exposed to the joy of the changing moods of nature, the true content of his work surfaces. The freshness of the compositions is superbly counterpoised by the ochres and siennas of decaying shrubs and grass and above, by the silent blue sky. Vimal Chand is a Masters in Fine Arts from the Jamia Millia Islamia. A prolific Indian artist, Vimal takes inspiration from nature as subjects for his paintings. A fine example of Indian art and its landscapes, Vimal’s paintings can be found in collections across India, Malaysia, Switzerland and the United States. He has held many solo shows and several group shows in his career and participated in prestigious workshops and camps. Indian trees that grow in abundance across the northern plains of India are an intrinsic part of his The Lexicon Collection

art. Vimal's landscapes invite you to explore the abundant beauty nature displays in the plains in north India. Vimal’s work reflects the artist’s interest in landscapes. The landscapes stand distinct as they are once distant and at the same time close. The paths almost give the viewer an entry into the creative arena reducing the distance between the subject (viewer) and an object. His work captures the natural light and shade guiding it with a captive character. The artist’s handling of foliage is sensitively true to life; the trees very natural. The occasional blades of tall elephant grass that intersperse the shrubbery too appear genuine and delightfully unhampered by human growth. Excerpts from an interview: Did you always know you would become an artist? Since my childhood I was inclined to drawing and painting as my father was also good at drawing. I was lucky to get a chance and the encouragement in the school also and at a very early stage it was clear in my mind that I would become an artist. In the 12th class my examiner suggested to me to do BFA which was new to me because of lack of exposure.

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How would you define your paintings? I do landscapes which look realistic but are technically abstract. I don’t use a brush; instead work with the loops of woollen cardigans. It seems that you are totally attracted to the beauty of nature. Wherever I go, this beauty of nature attracts me. Nature appeals to the deepest of my emotions and its different moods inspire me to paint. The cool and calm mornings when all its objects seem to have been washed anew; the pleasant afternoon of winter in lush green forests where the sun peeps at you through the playful leaves of the lively trees swaying and dancing with the wind; the setting sun filling the whole of the world with an orange aura, scattering different hues in the sky; scattered leaves on the paths; shrubs, bushes and grasses; long and narrow well trodden mud baked paths, cutting a way through the dense wood – have always attracted me. What is your medium of paintings? What are your favourite colours? It is acrylic which is suitable for my own created

technique of painting. I work in oil and water colours also. I like all the colours hidden in nature. What is your view regarding the commercial aspect of art? Today there is no dearth of opportunities and exposure but what is lacking is sincerity among the new generation of artists. They are working according to trends and it mars their creativity. Growing of art galleries is beneficial for the artists, provided they give a chance to the talented artists also, not just to those who can spend money. How do you know when a work is finished? That’s an interesting question. I think it depends upon my mood. When I paint I am in a certain mood and that mood helps me to create a certain painting. It’s not a very logical thing – it’s more of an instinctive or intuitive thing. What does a prize matter to you? My artwork is a prize for me. If a viewer appreciates my work, that is the biggest reward for me. I want people to understand my art and preserve the beauty of nature which is in danger. The Lexicon Collection

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What is art for you? I have been associated with the world of art for the last 15 years and I find it the best medium to express my feelings. A good painting tells you so much more, so much more beautifully than a good photograph. What is the hardest part of being an artist? To keep yourself in the state of mind of an artist, to continuously be able to transform yourself and to be aware of that transformation. It is easy to get distracted but you need to constantly be aware of your sensitivity towards yourself and other people and the environment. What advice would you give to an artist just starting out? Starting out is a big thing by itself. You should not be pulled down by opinions and should really believe in yourself and in what you do. You should also not be pulled down by money. I think what really matters is enjoying yourself and if you can do that then most probably other people will also enjoy your work. If you start with the intention of ■ becoming famous then it won’t really work. 131

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D A. Landscape-I B. Landscape-II C. Landscape-III D. Landscape-IV

NATURE IN ITS WILDEST FORMS An artist who feels that artists now have opportunities to exhibit and platforms to explore.

Haseen Ahmed Qualifications: B.F.A. & M.F.A. from Jamia Millia Islamia, New Delhi-1991-93 Achievements: Participated in sculpture exhibition in 1989-90, organised by Punjab University, Chandigarh, India; All India Students Camp 1990, Roopankar, Bharat Bhawan, Bhopal, Abhwyakti Karyashala-91; 6th, 8th and 9th Yuva Mahotsava Sahitya Kala Parishad, New Delhi. 67th Annual All India Art Exhibition at AIFACS ’96. Shows: 12 Group shows and 3 Art Camp all over India. Awards: 10th Yuva Mahotsava, Sahitya Kala Parishad, New Delhi. Mob: 0-9868046942, E-mail: haseenpathan@gmail.com

ature is depicted in its wildest forms with the help of abstraction and sometimes geometrical forms, which adds to the breezy side of nature. In his works, the distinct aspects of nature are presented through the bright and vibrant usage of magenta, orange, red, and pink brush strokes. The representation of bold, black and white lines, depicts the sublime quality of nature. For instance the hills, the trees, the majestic sea waves and other natural elements come alive in his patchy and rough brush strokes, used in the landscapes and give momentum to the paintings. The artist who was born in Delhi , has done his B.F.A and M.F.A in 1993 from Jamia Millia Islamia. Whenever contemporary Indian art is mentioned, Haseen Ahmed’s name automatically comes up. Imagination plays a vast role in his paintings. At present, he is teaching Art in a Delhi Administration–run school. Excerpts from an interview: How did you come into the field of art? My father was involved in metal casting work

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and I used to help him. Painting was one of the subjects in the school, but suddenly I grew interested in sculptures but I found it difficult to express myself in this medium and I again became interested in painting, stimulated by my father and by the family environment that surrounds me. Your style of painting seems to be a little different from the usual. Could you just explain about this? I mix colours with the forms. I make totally abstract landscapes. I am obsessed with nature and blending its beauty with my imagination on the canvas is my passion. I never plan or decide on any composition; rather whatever form appears, I try to balance colours with it. Your latest abstract works seem to have suggestions of landscapes. Are you conscious of these elements while painting them, or are they just coincidental? Actually, I never quite let go after landscapes in my art. It’s the one venue that has been a constant over the years, though never a total focus point. For me a landscape painting, even though super

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Landscape-V

simplified, is like comfort food, an occasionally satisfying indulgence. Do you think of your paintings as being abstract or realistic? It is more drawn towards the abstract and in the genre of landscape too... But if we say it’s of the universe, I think that’s a better way to classify my works. How do you decide about the choice of colours to be used in a painting? I play with colours and usually, use very vibrant colours so that a feeling of happiness comes after viewing my paintings. I don’t go according to set norms in choosing colours. If I feel the need to show trees in black, I use black colour instead of green. What is the condition of Indian art today? I feel that the value of Indian art and artists is very good at the international level. Indian artists have opportunities and platforms to explore and that is the reason behind contemporary artists creating such excellent work nowadays.

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What is your opinion regarding the commercial aspect of art? Because of the mushrooming of new galleries and buyers, the commercial aspect has increased tremendously. But buyers are more interested in investing rather than appreciating art as art lovers. Artists are also working as per the demand but that is affecting the creativity and originality of the artists. What is the predominant object that you like to place in your landscape paintings? It is a boat. I feel that the life of a human being is like a boat. It is afloat till there is life, but nobody knows when it will sink and life will end. As an abstract painter, when do you know your work is complete? It is different for every work. I normally go back to a work and study it, If I feel that there is something more that it requires, I work on it. Finally I reach a point when I know that the vision, the form, that I had subconsciously imagined is now there before me and I can do no more to complete the work. The Lexicon Collection

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Why have you selected bronze as a medium for your sculptures? I think when you work in stone it limits your thought, but in bronze you get the freedom to express. Do you feel that you have evolved over the years as an artist? I am still on the evolving process. With time and experience, the thought process of an artist changes and consequently reflects in his art work. Did you get the right support and encouragement from your family? Today whatever I have achieved is due to my parents’ support. They had played a vital role in shaping my talent. What advice would you give to an artist just starting out? Do not think about how to be famous. My advice to them is to discover and to try out. They should want to add to art; not replicate and regurgitate that as art. ■ 133

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D A. Eternal Beauty B. Bahar-e-nau C. Dast-e-saba D. Soul of the earth

NATURE’S MOOD IN COLOURS

Subh-e-derakhshan

An artist who is fascinated with nature’s duality. Moinuddin Ghazali Qualifications: BFA & MFA from Jamia Millia Islamia 1999 & 2001 Solo Exhibition: Qaus-E-Quzah, AIFACS, New Delhi, 2008 Group Show: Abhivyakti, State Lalit Kala Academy, Lucknow, 2008 Other experiences: Worked as an IB artist in Escotoons, Faridabad, 2002 Worked as a visualiser at Serene Inc., a handicrafts and advertising Agency Working as art teacher at Jamia Millia Islamia Assistant Proctor, Jamia Millia Islamia Mob: 9891234042 E-mail: ghazalimoinuddin@gmail.com

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oinuddin Ghazali, hails from Chak Barari ‘Bilanda’, Fatehpur, near Allahabad. The unique natural beauty of his native place is captured in his memory and stores perfectly well, with the help of colours, on his canvases. That is why although born and brought up in Delhi, one can see the scenic beauty of Ghazali’s home town in his paintings even today. A case in point is the painting of the river Bilanda as it runs its course over rocks and boulders, splashing its cool water, with hues of joy, as if playing to the tune of time. The artist is fascinated by nature’s duality, the amazing and profound character of trees, grass plants and life cycles. He incorporates foliage, seeds and blossoms into his paintings, to reveal the splendour around us. This young artist who is presently teaching art at Jamia Millia Islamia, likes to keep the title of his paintings to exude a poetic balance, like Lail-o-nahaar, Mausam-e-gul, and Bahar-e-nau etc. He wants to explore and learn about nature, and is always eager to create or build what he envisions and brings alive. Ghazali’s palette The Lexicon Collection

is rainbow-hued and he stabs his canvases with pigments to create a thick layer that adds body to his landscapes. Excerpts from an interview: How did you get attracted towards art? Art is a like a passion for me since my childhood and I used to draw whatever I found interesting. And when I reached 10th class, it was very clear that I would join the art field. But, being an engineer, my father wanted me to do engineering and I had to take up science in the school. But the attraction to art was still there and I took admission in BFA in Jamia Millia Islamia and did my MFA also, from there. Tell us something about your style and depiction of paintings. Initially, I had started with figurative paintings but gradually, I changed to landscapes and then I realised that my style is quite similar to the approach of the famous artist Van Gogh. My landscapes are focused and if you see them from close up, they give the impression that nothing is clear and colours are spread in a haphazard

The-gift-of-life

manner. But seen from a distance, everything becomes clear and evident. I prefer directly applying colours from the tube, instead of a brush.

The use of free strokes and the boldness of colours reflect how nature, its freedom and its boundless beauty, have inspired me.

What is your technique of painting? I once used oil and oil pastels, but now I am using acrylic. I use very thick colours and don’t have any transparency in the work.

What is the predominant object that you like to place in your landscape paintings? Trees and grass are very predominant objects in my landscape paintings. As I work directly from the tube, you will also find a touch of excitement in all my landscapes.

How do you conceive an idea? When I stand in front of the canvas, I never have a plan or any idea for a composition. It totally depends on my mood and the concept I have in mind. Who has been the main influence on your art? I am totally inspired and fascinated by nature and its various aspects. Nature with its large vista of colours has always appealed to my senses. Nature is very lively and gives the feeling of freshness. Wordsworth and Keats have influenced my works. Nature for me has a muse, an excitement and this is what I have tried to depict in my works. Every colour of nature is splendid and representative of one mood or the other.

Where is Indian art positioned today vis-à-vis global art? Basically in India the value of art is mainly based on your experience and I feel that experience is important in any field, but an artist should be appreciated by his or her work. If an artist did not get the encouragement and appreciation he deserves, how will he survive or display his talent? How are exhibitions beneficial for an artist? We exhibit our work for self-satisfaction and they are the appropriate sources of exposure which is beneficial from the commercial angle, as well as for personal complacency. The Lexicon Collection

Mausam-e-gul

Tell us something about your next collection. It will be now in acrylic and done in a totally different way, with a little more clarity. Paintings would be more transparent and the application of colour on the surface will have less depth or thickness. But the style will remain the same. The exhibition is planned for Bangalore . Are auction houses helpful in the development of art or artists? They are helpful for the senior and influential artists, not for the upcoming artists, who have to struggle to prove their talent, they are a distant dream only. What do you hope viewers will take away from your art? I do not wish the viewer to approach my work with any set parameters in place. I do not create specific shapes, or any identifiable objects precisely because doing so would give a definition to the work. I want the viewer to experience the work – the colours, the strokes, the interplay of the composition – so that each work will elicit a different response ■ and touch a different chord with each viewer. 135

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A. Untitled-I B. Untitled-II C. Untitled-III D.Untitled-IV

Landscape-II

TRANSPARENCY IN EMOTIONS

“I undertake nature as the visible theme and scatter my ‘unpolluted’ emotions,” says the artist.

Mahmood Ahmad Qualification: B F A., (Applied Art), Jamia Millia Islamia University, New Delhi in 1992 Shows: Participated in several shows and exhibitions across India. Mahmood’s works have won him several awards and recognitions and can be found in several public and private collections. Collections: Reliance Anil Dhirubhai Ambani Group, Delhi Press, Delhi, India Tourism Development Corporation, Govt. of India, Canvas Art Gallery, Nehru Place, New Delhi. Heart Care Foundation of India and much more... Ph: +91 - 11- 26919736, Mob: +91- 9818732886 Email: mahmoodartist@gmail.com

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ahmood Ahmad’s drawings seem to have a steady phenomenon and provide an opportunity to steal a look into his style, technique and subject matter, reflecting innocence, innovations and changes in the method of art. He at times presents a detailed analysis of descriptive figures. Like others, he takes his subjects from the society we live in, but offers a revelatory insight into a variety of themes. He paints nature, especially its greenery, and women from different walks of life. But what is uniquely characteristic of his canvases is their purity in expressions. A recipient of M F Hussain Certificate of Merit, Ahmad illustrates semi-realistic figures of women, who are either busy with their daily chores a task they have been doing for years. In other works, she is depicted waiting for her beloved. Also, he portrays the images of diverse cultures and the richness of our heritage as seen in nature. The artist seems to be fascinated by semi-wild surroundings of his life and sketches the environment, especially mountains, grass, a forest area having caterpillars The Lexicon Collection

and their pupae and butterflies. He, also captures on canvas the fragile wet wings of butterflies, emerging from the pupae. His encounter with nature and its beauty finds its way into his drawings. His attempts – abstract and sometimes figurative – are a way of expressing his emotions and an approach towards liberating himself from the grasp of such feelings. As one walks through his series, one recognises the artist within Ahmad whose original vision and novel techniques stretch the artistic possibilities of the world. He dishes out a remarkable life circle of his subjects through depicting feelings and this is done in an experimental way. He comes out as an uncommon artist, who pours transparency into his passion, rising above the game of numbers. His ruling idea is inextricably bound up with natural history, developing a unique style to his art. The 46-year-old inks down his characters through the technique of cross hatchings. His steady lines, sometimes making a circle around the subject, translate his feelings into portraits. The resulting visage, uttering joy or sorrow, screaming with pain and anger, or smiling enigmatically, are an idiom born of his inner turmoil and sentiments.

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Although he had first achieved perfection in precise oil colours, evoking the melancholy of nature in all its variety, he switched over to acrylic colours in an effort to depict the figurative and abstract side of his subjects. But he has now mastered himself with the charcoal pencil style, thereby aiming to showcase his strength with art by spinning out themes through newer mediums. In the initial stages, the artist had used fountain pens and ball pens in a compelling bid to everyone to accept his ability as an artist. The Delhi-born painter’s compelling paintings derived from nature are considered the most demanding form of art, soothing the mind and heart of his viewers. Excerpts from an interview:

My journey as an artist began at an early age. As a child I developed a passion for drawings. I used to sit in the last row of the classroom and scribble my entire exercise books with paintings. Later, I studied for my graduation degree from the Fine Arts Department of Jamia Millia Islamia.

Give a brief account of your life. How did you take up art as a professional career? My father Mohammad Yusuf ‘Papa’ was the Vice Principal of Jamia School, adjacent to the Department of Fine Arts in Jamia Millia Islamia. He was also a theatre person and often did paintings in his leisure time. My mother Sami-un-Nisa extended me her support throughout my life.

What is the underlying theme of your art? I do believe that everything we see, everything that is in our heart, is the perceptible part of reality. We also have the invisible part of reality, like emotions and feelings. This is our perception about the world. So, I undertake nature as the visible theme and scatter my ‘unpolluted’ emotions towards nature, as an invisible reality.

Where do you take inspiration from, for your art? I am deeply fascinated with nature since my early days. During the stint at Jamia and the days I enjoyed around its semi-wild surroundings, a young naturalist budded in me. I, therefore, compelled myself to spend hours in the forest gathering caterpillars and their pupae and taking them back home. I observed them evolving into butterflies.

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Landscape-III

Landscape-V

What are your mediums? Nowadays, I am working in charcoal pencil and acrylic on canvas mediums to depict my thoughts and feelings. Earlier, I used to paint with oil and watercolour, sketch with pencil, create pen-and-ink drawings on paper, to put forth the same message that I have followed throughout my life and on my canvases. How do you conceive ideas? It is what is received intuitively. Since my childhood and till the present time, it is a subtle observation of what I see, or what I feel, that comes into forms on my canvas. In fact, it is a mixture of both ideas and seen objects that becomes a new idea in my mind and based on that, I start a fresh work on the canvas. What is your next venture? At present I am continuously working on a new series called ‘Landscape’ and a series of untitled charcoal drawings. I have already introduced my art into the international market, and participated in art shows held at Jakarta , Indonesia. This show has ■ provided me with a lot of opportunities. 137

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A. Contemporary-I B. Krishna C. Sadhu D. Buddha

TRANSCENDENTAL ART An artist who believes that creativity originates from the deeper layers of the body, mind and spirit.

Shirish Kumar Qualification: Self-taught artist Exhibitions: Held various exhibitions in Delhi, Kolkata, Bangalore, Chennai, Goa, Ahmedabad and abroad. Collections: Taj Group of hotels, Oberoi Hotel, Air India, Air Lanka, I.B.M. Dubai, Prestigious art galleries in India and abroad. Mob: 9810264353 E-mail: alkasirish@yahoo.com

here are many ways of expressing our inner thoughts and views to the world around us, and art is one of the most evocative and beautiful ways of doing so. What the eye sees is transformed by the inner eye; the result is a fusion of the artist’s impression of what is, and what can be. Sirish’s works are a testimony to the transcending influence of art. One particular art form he excels in is Tantra art and committed to the revival of Tantra art and his works are infused with mysticism, exploring the deeper nuances of the mystery of life. He believes that creativity originates from the deeper layer of the body, mind and spirit, making art look like a mystery and revealing the mystery of life to be art. How would you define your work style? My paintings are realistic and abstract both. You can say that my style is multi-purpose and I work with different mediums, starting from oil to water, acrylic to pastel colours. It is not necessary that every time I have to use the brush. Instead I use visiting cards, blades and often my fingers and hands, in the form of a brush.

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How do you differentiate between realistic and abstract work? The realistic technique is the starting point of any type of painting. Only when you get to know it can you create an abstract painting. Although you have worked in several materials, is there any medium which you like most, or feel most comfortable in? I feel that acrylic is a wonderful medium since it is fast and easy to use. It gives you the greatest freedom to express your creative impulses. The real secret is to explore their many uses. It seems that you love painting horses. Any particular reason? You can do a lot with them. Horses can be portrayed in action and at various angles and in abstracts. They are the symbols of power and energy and infuse liveliness in me. How were you attracted towards Tantra art? Tantra art is a mystic art, based on Indian gods and goddesses. It airs in well with Moghul art. I have combined them into a single work of art and

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this kind of painting has a very good market. In ancient times, Tantra art elevated the art connoisseur to heights of spiritual ecstasy as is visible in the stone sculptures of Khajuraho. This art still lends itself to contemporary work in all its glory.

and contemporary, both forms of Indian art has an international market. More so, because art has been commercialised and customised and that has not marred the creativity of an artist, as some critics have commented. Rather, it gives an artist a chance to explore extensively.

Apart from horses, Ganesha is another of your favourite subjects. How did you develop a liking for this form? I think this is a very flexible form and one can depict him in varied moods and shapes. You can portray him in a dancing, reclining, five-headed or sitting pose. Ganesha is one god which appeals to everyone and is liked by the viewers of countries outside India .

As an artist, what is the most intriguing thing you see in the cosmos? Everything – flowers, hills, trees, the sea. Whatever is a part of nature fascinates and inspires me a lot. Nature is in itself intriguing and a vast canvas. Mother Nature is beautiful, sensitive, temperamental and she procreates.

You have travelled extensively in other countries and exhibited your work also; do you feel that Indian art has been able to get genuine worldwide acclamation? No doubt that globally, Indian art has been able to generate an acclamation on a very large scale. The American and European art market has been investing huge money in the Indian art. Traditional

How have viewers reacted to your varied subjects and mediums? They like the uniqueness and aesthetic appeal of my paintings. It is not difficult for people to understand my paintings. Famous artists who have influenced you and how? Shanti Dave and Picasso, because I feel these artists have had their own perceptions. The Lexicon Collection

Waiting

Tell us something about your new series. Presently, I am working on a series dealing with the urban landscape. For this series, I have prepared textured canvases. You did not have any formal training in art. Have you ever felt that it is a sort of drawback? I had never felt like this, nor missed any opportunity but it is true that if you attend an art school, your techniques become strong and polished. But, in my view, techniques can be learnt. The ingredient of latent craftsmanship needs to be nurtured. I have evolved a variety of techniques in the course of my work which, in addition to being artistic, are cost-effective, simple and quick. What does art mean to you as an individual? Art is like worship to me. I love to paint and spend most of my time in my studio. I am very satisfied with my work and feel my life is full and meaningful as an artist. Sometimes, while painting, I feel I have become part of my characters on my canvas. My art spectators and lovers appreciate my work. What ■ else would an artist wish for? 139

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D A. Intimate moments B. Life in a swing C. Desperate couple D. Unquenched thirst

THE DEPICTION OF SECRET PLAY An artist who sees uncountable hidden facets in nature.

Shyam Porwal Date of birth: 15 March 1960 Self-taught artist active in the art field for the past 30 years. His greatest strength is his confidence in himself. Apart from painting, he also writes poems in Hindi. A number of his paintings are in prestigious public and private collections. Mob. 9818334182 E-mail: shyamartist@gmail.com

t won’t be an exaggeration to say that artist Shyam Porwal is a born artist. In fact, he has lived art since his childhood. Even today, Kala hi jivan hai (Art is life) is his motto. No wonder then, that whenever you visit his home, you will always find him engaged in drawing sketches or doing some painting. He hails from a small village in the Oraiya (formerly Etawah) district of Uttar Pradesh. Right from his school days, Shyam had identified his artistic talent. Then his classmates would come to him to get their sketches and figures drawn by him and he always obliged. Soon his sphere of art increased and he found himself being drawn more and more by nature. The natural surroundings of his village lured him no end. Long spells spent in the lap of nature continue to dominate his artwork even today. Excerpts from an interview:

Tell us something about your beginning in art. Right from my childhood days, art has proved somewhat beneficial for me financially too. In fact, it has sustained my family and me whenever hardships of life faced us. Amidst all this, I enjoyed 140

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helping my classmates and teachers with my art. As such, I had always been in great demand, on every occasion where art was in demand. Very soon, my artistic activity began to spread beyond our school environs also. There are many paintings of old monuments. What are they? During my tenure as an artist in the village, I used to travel widely around our native village. During those travels and walking around, I came across an old temple. It was in a dilapidated condition. I was shocked to see the abject condition of the entire temple building complex. It was lying in ruins and nobody, not even the Archaeological Survey of India, seemed to be doing anything about it. The pathetic condition of the buildings in that complex touched my tender heart. Being an artist, my sensitive nature visualised a lasting beauty in this temple. Thus began a painstaking effort to catalogue the ruins in that temple through my paint and brush. What brought you to Delhi? Although I enjoyed the rural atmosphere of the

village no end, I felt that the village might not be able to sustain me for long. Hence, I migrated to the district headquarters to work as a commercial artist. But even that small town, in the course of time, proved to be inadequate for my artistic dreams and I ultimately migrated to Delhi in the early 90s. How was your life in Delhi? In the beginning, I found myself struggling for survival. But soon people began to recognise me and the list of my clientele grew. This helped me in carving a niche for myself in the metro town. In the beginning, I was doing mainly realistic art. But it was not long before I had to embrace abstract also as my art style. Now, I am well versed in both the styles. However, I have not confined myself to any medium or style. I can work in any medium and on any ground, be it canvas or handmade paper sheets. Likewise, I am comfortable working with all mediums – water, oil and acrylic colours. What are the themes and subjects that appeal to you most? I take up vivid subjects in my paintings although

Secret play under the sun

Chasing his lust

nature is the most dominant and constant theme in my art. I am able to see uncountable hidden facets in nature. My artistic vision helps me in this regard also. When I begin to draw, these hidden facets become verbose in my paintings. And the spectators feel themselves immersed in these themes. I feel this is the power of my artwork. I have portrayed man-woman relationships through this theme of nature. As such, these paintings appear enticing, and sometimes erotic too, but not at all vulgar.

always run after big names. They have to mend their ways if they don’t want to become monotonous. Moreover, almost all the artists now feel that they are working under pressure. Surely, there are big and established names in the art field and their works sell by their names. But the biggest beneficiaries are the art galleries. Nevertheless, I am hopeful that the situation will improve. I feel that the media, especially the print media, is doing a great job in promoting lesserknown artists.

What are your current works? I am nowadays working on a series of paintings based on the intimate relationships between men and women. I call the works Purush and Prakriti. The series is titled Secret Play. This work will soon be on exhibit. What about the commercialisation of art? I am rather dismayed with the growing commercialisation of art. I feel big and famous art galleries have acquired an attitude of indifference towards the budding artists. I should say that these galleries and malls are totally unsupportive and The Lexicon Collection

What difference do you find between village and city life? I feel that in villages, your circle is quite small. All the people know each other; they share each others’ joys and sorrows. But in cities the situation is totally different. People meet one another like strangers. Financial pressures which are greater in big cities, can be big and tiring at times, for the artist. One has to somehow cope with this pressure. But the rural landscape provides unending fodder for ■ an artist’s thought process. 141

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D A. Hordh B. Udaan C. Peep deep into me D. Reflection - III

THE ART OF SCULPTURE An artist who has chosen bronze as a medium to express emotions.

Timsi Gupta Qualifications: ITI Trade Test in Commercial Art (Govt. of Delhi ) in 1996; 3 years Diploma + 1 year Advance Diploma in Fine Arts in 2000; B.F.A. in Sculpture from College of Art , New Delhi in 2007 M.F.A. from College of Art, New Delhi in 2009. Shows: Participated in Sankalp Utsav in 2009 Annual All India Art Exhibition organised by AIFACS at National Level in 2002-06-07 Youth Art Exhibition organised by Sahitya Kala Parishad in 2002, and many shows in the country. Awards: Chittaranjan Park Bangiya Samaj for best wood carving in 2006. Ph: 011-25884101, Mob: 9250105336 E-mail: timsi77centaures@yahoo.co.in timsi.sculptor@gmail.com

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touch of whimsy, a twist to the obvious and a subtle humour underlying the works is what strikes, when viewing the sculptures of artist Timsi Gupta. Committed to her calling, this young artist believes in showing her skills through constant experimentation, step-by-step growth and an ever growing desire to interpret her experiences through her medium, which is sculptures in bronze. Excerpts from an interview: You have spent years in training yourself as an artist. Why did you choose to pursue such a long academic programme? I was very keen to make art a career and so took the first opportunity that came my way to qualify myself. Unfortunately, I had entered a commercial art course and having done a year of the course, I realised that commercial art did not interest me. I therefore joined the Polytechnic for a regular fouryear course and completed it. It was when I went for a scholarship to Udaipur that I got a shock. I was informed that I did not qualify for the post because The Lexicon Collection

my qualifications were not from a recognised institute. I decided to work for the entrance examination to the College of Art , New Delhi , and pursued the recognised course there. How did you adjust into the academic routine at the College of Art , considering that you had already studied all those subjects at the earlier institution? For a year or so, the classes were boring for me as it was a mere repetition of what I had already studied. To challenge myself and look for a new angle to my education, I decided to try out doing sculptures. Of course, I had an initial interest in the subject, but this new angle of challenging myself with something new, gave a boost to my determination. Did the subject of sculpture prove to be challenging? I was thrilled with the course. It was a new medium and the fact that I was already an artist who had been through the graduation course made it easy for me to draw out the dimensions in my sculpture. Instead of a flat and lifeless figure, I

The comb

was getting the 3-D effect when sculpting the form, particularly the face. Your chosen material for sculpture is bronze. Why did you not choose the cheaper options of wood and marble? I find the medium of bronze very malleable as it allows me to distort the form. This freedom helps me to express my emotions better. On the other hand, wood and marble are both dense materials and have a very compact nature. They are good for chiselling and carving, but do not suit my sculptures that are expressive of a bit of satirist humour and work as commentaries on modernday society. Hence, this choice is a need and not really an option, in my case. Your sculptures are not individual pieces but are presented as a compositional form. Why? My sculptures talk about relationships and that necessarily requires a group composition. These relationships are not necessarily about two human beings but between an object and the human being. In fact, I pull together unconventional objects to convey my ideas. In one such work, I have

combined wood and fibre glass and sculpted a set of feet and a comb with a snake. It is a way of showing human relationships without using the hackneyed form of a man and a woman. Most of your sculptures are on the human extremities, the legs and the hands. Is there a special reason behind this choice? The interest in human extremities, like the legs and hands, came about during my student days when we had to do sketches of these forms. I found a great interest in doing these subjects and when I took to sculpture, the interest was converted into making sculptural forms and compositions using the limbs. What do you keep in mind when doing the full human form, particularly in regard to the face? When I do the full human form, I like to make a mirror image, reflecting two facets of a single personality. For this, I need to keep the face very expressive as the reflection will convey the idea to the viewer. For me, the face is like a mirror held up to our emotions and that is why I use these objects to express the meaning behind my sculptures. The Lexicon Collection

Bonds of life

Why do you place such a strong emphasis on drawing, when you are a sculptor and not a painter? The sketches are my lifeline. I enjoy making detailed sketches and the black strokes on the paper which are then translated into the forms that I will execute in bronze. The drawing therefore becomes the self-moulding imagery of a form and as my drawing proceeds I feel the mould is forming itself without my volition. Most artists resort to making a cast of their proposed sculpture. Why do you skip that stage? For me that stage is a drawback. I like to work at the final product because if there is an intermediary stage, the spontaneity is lost. Besides, there is a lot of variety in my forms and they would lose their essential emotive quality if I go through an intermediary stage. What kind of a future do you envisage in your line? I like to continue with my work and produce more and more interesting pieces. I do not like to be tied down to a routine job because that hampers my creativity. For me, art is a 24-hour following and â&#x2013; I hope to continue with it in this way. 143

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D A. On cloud nine B. Ecstasy C. Danger within D. When nature comes knocking

EXPRESSION WITH ONE’S INNERMOST THOUGHTS An artist on whom human emotions have cast a tremendous influence.

Anoop Kumar Srivastava Education: Diploma in Fine Arts, Allahabad University , Active in the art field since 1992. Shows: Participated in 27 Group shows in India. Shows abroad: Group show organized by Indian Art Network of Bombay at Jakarta, Indonesia, 2008. Workshop: Poster workshop organised by A.U. Visual Art Deptt.; Artist workshop organised by Nanda Devi Movement, Dehradun; NCZCC painting workshop at Sangam, Allahabad, organised by Art Mall Delhi 2008. Collections: Collection with eminent Sarangi Maestro Padma Shree, Padma Bhushan Sabri Khan, Many private collections in India and much more... Contact: 9810690230 Email: anoopsafal@gmail.com

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noop Srivastava is an artist who really likes to indulge his artistic thoughts to develop ideas and paint with total freedom. He also likes to work within a disciplined theme and avoid totally blind chaos. For him to paint without discipline is to paint without skill, or without any understanding of how the end product will materialise. He believes that art should be viewed, pondered over, admired, exhibited, proudly displayed, carefully scrutinised, and, in order to benefit to the fullest extent possible, should be understood from the perspective of its creator – the professional artist. The son of a medico father, who was in the INA and later on, when the INA was dismantled, joined the Army Medical Corps, Anoop has experienced vivid and diverse experiences of life. One can see the depiction of his experiences in his paintings which speaks subtly, but the impact is larger than life. Influenced by the art of the artist M.F. Hussain, who according to him is like a godfather for this industry, Anoop’s desire is to create awareness in the field of art, so that every new artist gets a

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chance to explore his or her talent. Excerpts from an interview: Why did you take up art as a career? I am the only person in my family to take up art as a profession. My father’s job was transferable and we never got the chance to settle down in one place. I have had my schooling and higher education in Allahabad . I had a strong inclination towards art since early childhood and used to draw on the last pages of my text books. During our stay at the Swarup Rani Hospital compound in Allahabad , I witnessed all sorts of human feelings. The expressions on the faces of the people coming there spoke volumes about what was going on in their hearts. I feel those human emotions have played a crucial role in moulding the artist in me. What were the early influences on your work? I had an Anglo-Indian friend, Franky. He was a superb artist and would draw faultless pictures of lotus flowers. His drawings inspired me to try my hand at art. At that time in the Illustrated Weekly, cartoonist Mario Miranda’s caricatures would

Infinite wait

appear in the form of a woman in western outfits supporting a big dot on her forehead. That appeared quite remarkable to me though I did not understand its full implication then. I related that big dot to my mother, who also used to put a similar dot on her forehead. I would draw mainly female figures just to satisfy my hobby. Marks of those early years still continue to dominate my artworks. Can you tell me something about your artwork? My work is semi-abstract but with different subjects. In my opinion, the creation of an abstract, or semi-abstract painting, expresses the innermost thoughts and personality of an artist. My work is more subjective than experimental. My work is figurative because I feel the creation of figurative artworks not only depicts the emotions of the artist, but also transforms the artist’s emotions. It has a spiritual touch and is inspired by nature. Apart from the female figure, your paintings have a touch of spirituality. Why? I have closely seen this aspect at the confluence of the Ganges and Yamuna in Allahabad and on the

The monk and the dancer

boating jetties in Varanasi . There is a Sufism also in my paintings, which shows the transcendental spell in the experiences of the devotees. What is your medium and colour palette? Mixed medium and acrylic. I don’t use multicolours in my work. I usually decide colours according to the subject. My favourite colours are yellow and orange. I have never been very particular about maintaining a style. I like to adapt to newer circumstances. I realise that experiences change with time. I accept the new environment, people and also like to adapt new techniques and new colours. If anyone comments on your work, then how would you take it? I would take it as a form of encouragement and interest and consider what they are saying. It’s like a feedback. I do believe that ideas are not final or total. But it is important for me to know how knowledgeable the person criticizing my work is.. How is the Indian art scene today? Today, the artist does not have the freedom to The Lexicon Collection

Routing evil

express his or her feelings or to explore the different rhythms of his art. If an artist cannot express his or her views through his or her paintings then what is the point of painting? Gallery owners are taking advantage of this situation and minting money. But they only take the paintings of selected artists, and upcoming and struggling artists do not get a chance to exhibit their work and potential. What is your opinion about the growing commercial aspect in the field of art? Commercialisation of art is like a hindrance for the artists, but beneficial for the established artists. The irony is that most of the people in our country don’t have an evolved art sense. And, on the other side of the coin, big art galleries have begun to confine good art within their warehouses. It scares the common people away from art and artists. It is necessary to popularise art and bring it to the masses. Art zones should be created and greater interaction should be ensured between artists and the public. We need an open gallery where anybody can come and exhibit his or her work. Also we ■ required a meeting junction for the artists. 145

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Mask of tranquility-6

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D A. Shape of things to come-1 B. Shape of things to come-2 C. Shape of things to come-6 D. Shape of things to come-8

NOT A ‘SCI-FI’ ART Combining unique mechanical human visions.

Pratibha Singh Qualifications: MA, B.Ed. Art Certificate from Maharashtra Govt. Certificate Course in Art Appreciation from National Museum Institute of History of Art Conservation and Museology, New Delhi Presently associated with Triveni Kala Sangam, New Delhi Shows: Participated in many Group shows and Solo shows in art camps. Collections: Corporate offices, Hospitals and Private collections in India and abroad. Online shows: artq.net, brushspace.com, art-3000.com, artroof.com, indianartnews.com Ph: 9899801433, 28032164 E-mail: pratibha_artist@yahoo.co.in pratibha_artist@indiatimes.com

ronounced as not being ‘sci-fi’ by noted art critic Keshav Malik, artist Pratibha Singh’s works combine contrary elements into a novel amalgam. Her tendency to combine human-cum-animal forms are emotionally engaging even as they are a pointer of things to come. Strangely, this mechanical-human combination does not in any way dehumanise her art and creates a new vision arising from a soak pit of both human and other-than-human elements. Excerpts from an interview: What is the thought process behind the use of contrasting elements in your art? For me, art is not about making illustrative statements. It is a means for conveying a contemporary message that the world today is veering away from. Things natural are now moving towards a mechanical lifestyle. What is the position of the artist in this fast approaching mechanised phenomena? I like to share with my viewers that the artist is

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intrinsically a free bird. The mechanisation makes me feel that an artist is a thinking person and therefore it is natural for him to dwell his thought process upon the shape of things to come. Hence the creation of humanised mechanical creations, on my canvases. Are there any artists, Indian or otherwise, who have influenced your technique or your thought process consciously? I like to believe that I am not influenced in my art by any individual artist, big or small. I do not like to restrict my creativity to a theme and in my understanding of my art, I am the only person I have come across, who has expressed herself in her art in this unique style. I work out my ideas in my thoughts and the style that I follow to express these thoughts are my very own. Have you always specialised in this unique style of depicting your thoughts? This is a later development. In my earlier works I was depicting the female form. This is not to express that I have a soft corner for my kind but because I found the figurative form of the woman

Colours of life

an ideal way to express the seasons. My most expressive work from this period is titled Autumn. It depicts the enjoyment of the season through the figure in this canvas. What is the latest work that you have undertaken? My latest work is a seven-foot-long canvas containing a human figure at its core. Gradually the human form evolves into a mechanical vehicle. What is unique about this mechanism is that it is without wheels and that is the message it is conveying. The drive to take it forward on its own steam is what is lacking in the mechanism, thus making man the centre of all creative urges. Do you use mechanical means to create and conceptualise your canvases? Up to a point, yes. I always experiment with whatever comes my way. Nowadays, I use the computer extensively to experiment with images. I like to exploit the potential of the various images I can extract out of a single form on the computer. Then as I continue to remain engrossed with this configuration of images, a new one evolves in its

place and becomes the next source of inspiration for a fresh art work. Your mechanical visuals do not comply with any particular machine. Is this done deliberately? All my mechanical inputs on the canvas are imagined mechanical toys. There is a whole range of them, from mobiles to communications machines. I want to emphasise that human beings today cannot run away from such a mechanical deluge around them. But in my art I don’t think of a particular machine and convert that into art. It happens unconsciously and I enjoy the illusion for a long time. Then one fine day, I find that it has appeared as art on my canvas. What sort of colour palette do you choose generally? I never control myself in my choice of colours. Thus vibrant colours with their brightness hold immense appeal for me. I like to create a richness on the canvas and for that, colours are my best tools. Of course, I believe in principles of cool colours and a balance of colours. The Lexicon Collection

There is a graphic outline surrounding your figures. Is that a deliberate choice? The graphic outline is part of the thought process in the painting. Since I am depicting a machine-influenced human being, there is no place for blurred images. The anatomy of the human form and the outline of machines appeal to me and these can be expressed through the use of a graphic outline. Which is the ideal moment for getting inspired to paint? There is no fixed hour of the day when I can hope to receive an inspirational idea. Sometimes the idea strikes me at two, in the night. Then I hurry out of bed to my computer and the compositional preparation for a work of art is set in motion. It takes time to mature and become a basis of an art work, but time is the best master in such situations. Then how long does it take to convert the idea into a tangible artwork? It all depends on the intensity of the idea. Sometimes, some ideas have so much force that they don’t let me rest until the work is finished. ■ 147

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DEPICTING SOCIAL ISSUES WITH THE BRUSH OF REALITY “My characters speak the truth because I do not create characters sitting in a closed room,” says the artist.

Madan Lal Qualification: BFA (applied art) from Jamia Millia Islamia (first division) Awards & certificates: All India Camel Colour Contest-1993 & 1994 Ist prize. Group shows: (J.M.I.) University Fine Arts Department, 2001, 2002; A special exhibition of paintings at Lalit Kala Akademi Rabindra Bhawan Ferozeshah Road, New Delhi 15 September, 1998, Work experience: Prof Zahrur Zarger (JMI) 10 years, J. R. Santosh, Manjit Bawa, Gopal Sarman & Devinder Khanna for two years. Art Camp: Joined Art camp held on 25th December to 8th January 2010 organised by Art Mall. Contact No.: 9911092550, 9999142529

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n interaction with his urban surroundings and the environment is the basis of Madan Lal’s consciousness and ability for creation. There are many touching incidents and events that make the up-and-coming artist, Madan Lal, agitated and thereby provoke a spontaneous artistic reaction. The artist tries to strike a chord with the viewers by stimulating their memories and inner and invisible sensory powers. He chooses to show the realities in society. The brush is the pen for Madan Lal, striving to tell the whole true story. He chooses old people who are suffering from the pain inflicted on them by their own people. He depicts the feelings and desires of those agonised old people on the canvas, who only want love and respect from their loved ones. To feel their aches and agony he walks miles in search of people living on the pavements, selling pan-bidi, or living alone in old-age homes. He also loves to live with nature, but here also, he likes to create reality. He graduated in BFA from Jamia Millia Islamia in New Delhi and got training under Professor The Lexicon Collection

Zahrur Zarger, a renowned artist and also his mentor and guide. The campus gave him a degree but the experience before and after the art study shaped him into a man with a soul. Born in a family of amateur artists in Rajasthan, he got his artistic inclination as an inheritance. His drawing teachers in the school supported him, but because of his financial condition it was difficult for him to purchase colours and brushes to fulfil his desire for painting. Madan Lal received a school-level award from President Gaini Zail Singh which infused the confidence in him to grow as an artist in spite of all the unfavourable situations and hindrances. His Principal at school was very helpful and arranged for art material free of cost. In the 12th class Madan received the award from the then President of India, Shankar Dayal Sharma, at Rashtrapati Bhawan. This award opened new avenues for him and he got the chance to work with the artist G. R. Santosh, as his assistant. Excerpts from an interview: What is your style in painting? My paintings are realistic and mainly connected with the incidents, happenings and truths of life.

Buddha

They do not have any artificial feel, no fake experience. Whatever I feel, experience, the emotions and sufferings of old people, automatically appears on my canvas. My characters speak the truth because I do not create characters sitting in a closed room. I meet them, interact with them and only after sensing their distress, paint them on my canvas so that people would understand the sufferings of those people. Why have you selected senior citizens for your work? Old people get lesser and lesser care, whereas they need more. In spite of their poor health they work for survival. These days, children think their parents are a burden and throw them out of the house. What is the other subject you like to work on and why? I also work on natural sceneries. I go outside the city and roads across into the open landscape. Nature is so beautiful and energetic and fills me with freshness and new ideas. Rocks, streams and waterfalls attract me and I show them on canvas.

Reliance

Which technique and medium do you prefer? I like using different mediums, techniques and textures in my paintings. I use the knife, etching and embossing and ceramic powder. As a medium I am using both oil and acrylic. What is the colour palette you choose? In realistic paintings one tone looks good. I use selected colours, like burnt sienna, burnt amber, scarlet, red, green and yellow. These colours are the colours of nature and they inspire me immensely. What elements present the fine quality of art? There are many elements like colour combination, composition, balance among colours, completeness and perspective. There are the other factors to keep in mind while a painting is being accomplished. Every factor is significant because a minor flaw can tarnish the beauty and aesthetics of the painting. How is the Indian art scene today? Today, art has been divided into parts and everybody is working on the lines of modern painting or abstract painting that is totally The Lexicon Collection

Indian cook

westernised and can’t depict the essence of Indian culture. New artists are eager to follow short cuts to get instant success, which can never be longlasting. The expression of feelings is less visible in the works of today’s artists, as they are keener to satisfy the requirements of the clients and gallery owners. Their only demand is abstract paintings and that is why we are losing the Indian touch and concepts from the art area. What are your hobbies? I like photography, travelling, writing poems and collecting real-life stories. I do calligraphy and have worked for the stage, so I find myself attached to the theatre. I am fond of music also. Famous artists who have inspired you? Professor Zahrur Zarger, Vijender Sharma, Sanjay Bhattacharya and Paramjeet Singh. How does a prize matter to you? If I have the capability, then I will definitely get the reward for it. But for me the viewers’ appreciation is more important and also the biggest prize. ■ 149

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D A. Baby Krishna at the window B. Shyam Sundar C. Krishna having butter D. Krishna playing the flute

AN ORNAMENTAL TOUCH A successful artist who does not run after success.

Alka Bhrushundi She is a self-taught artist and has had a flair for art and craft since childhood. She has developed herself in the Tanjore style of painting and has done prolific work in the genre over the last ten years, covering a wide range of subjects, including but not limited, to the conventional deity forms. Her clientele includes both corporate as well as private buyers from India and abroad. She has taken part in various art exhibitions in the country. Mob: +919910441883 Email: adbhru_101@yahoo.co.in

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lka’s paintings reflect a wide variety of styles and designs. All her works are original and she uses a lot of ornamentation. She has had no formal training, but her style and technique is unique nevertheless. She uses 24 carat gold, precious stones and gems to embellish her murals. Most of her paintings are three dimensional, using mixed media, like wood, canvas, epoxy, metal, glass, terracotta, stone, board etc. Patrons of her work include fine art collectors from all over the world. She is continuously experimenting and evolving techniques to add a new dimension to her creations. Though mainly figurative, elements of abstraction are present in some of her compositions, and they are never pinned to a single perception. Her culturally rich works are very popular not only in India but also in the Middle East and Europe. Alka has held many exhibitions and creative workshops abroad, in cities like Frankfurt, Nairobi , Mauritius , Dubai , Abu Dhabi , Colombo and Kathmandu and in various parts of India . Excerpts from an interview: The Lexicon Collection

Your works, previous or recent, appear to be on the periphery between figurative and abstract. Is this a deliberate effort? I have done a lot of research into abstraction. I consciously attempt to make a synthesis between the figurative and abstract form. Earlier, my figures were jarring in an abstract background, but as I developed my art, the figures appeared to 'fuse' into the background. Elaborate your compositional perception. My composition, usually framed in bands of colour, embellished with metaphoric and stylistic details, are rich in symbols drawn from history, mythology, popular culture and religion. I don’t limit myself to a particular perception. My works are rich in a variety of motifs, perspectives, moods and themes – mythological, cultural and personal – multi faceted responses to life’s endless diversity. Apart from Krishna and the mythological series, you paint female faces. What are you trying to depict through it? I like beautiful and natural things, be it a woman

Yashoda carrying Krishna

or nature around us. I paint beauty and focus on the decorative and aesthetic appeal of my subjects. You are a self-taught artist; did you have an interest in art from the very beginning? You would not believe that I used to fail in art as a subject in my school days. When I was in the 8th class, my art teacher had insulted and criticised me in front of the whole class. From that day onwards, I had decided that I would show her that I can also improve and, with practice and determination, gradually I proved myself and, today, have reached a level where everyone appreciates my work. You are using a lot of gems, precious stones and 24-carat gold leaf in your paintings. Is it for a decorative purpose? I use them in paintings based on one or other mythological subject, particularly Krishna . I feel that Krishna is pure and I want to show him adoring all the pure things. The message given by Krishna is eternal and, with these precious gems and golden touches, I am trying to convey that eternity and purity. No doubt, these gems enrich the look of the paintings also.

Yashoda decorating Krishna

Do you believe in experimenting? Yes, I do. The use of gold work is my experiment in creativity. What sort of colours are you using? I usually like using both earthy and vibrant colours. Your paintings on the Rajasthani theme seem to be very unique. What have you to say about it? My work on Rajasthani themes is mostly relief work and I have used lots of beads, mirrors, jewellery and ornaments to embellish the paintings, making them look extremely attractive. Both Rajasthani men and women are extremely colourful. Even the clothes worn by Rajasthani men and women combine contrasting colours in the most attractive manner. I have used bright shades of orange with green, turquoise blue with yellow, maroon or magenta with green. I have also used lots of batik and tie-dye fabrics with plenty of jewellery to embellish these outfits, which sometimes have more than a hundred pleats in a skirt. The Lexicon Collection

Black Krishna

If you could paint anywhere in the world, where would it be? I don’t think that the location matters much because my inspirations come from within. So the external location where I am painting would not matter much. It would definitely have some influence, but I don’t have any preferences when it comes to locations as I don’t paint landscapes. How do you create your paintings? I can work in all mediums, but generally, I work with mixed media on different surfaces. First I draw figures after thinking over the subject and visualising it. I then colour my figures. Dexterous strokes, different colours, different media and shades of mystery, make my paintings refreshingly new. You seem to have evolved more as a painter with the current works. Tell us about the growth. Yes, definitely. According to me, an artist should evolve with better and better work in every show. I also believe an artist should maintain his or her identity and not keep changing the work drastically in each show. ■ 151

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A. Dream-I B. Dream-II C. Dream-III D. Dream-IV

A WAY TO AROUSE THE CREATIVE MUSE A muralist who specialises in large formats.

Aasutosh Panigrahi Qualifications: B.F.A., M.F.A., M.Phil. in Fine Arts, Pursuing Research (Phd) in Fine Arts. Guinness World Record Holder for largest Mural Landscape Painting. Broke the previously-held world record of a group of Australian Artists, in 2005. Successfully completed the five major projects in Sanjaya Khan’s Golden Palms Spa and Resorts. Shows: 16 solo shows & more than 90 group shows Mob: 9650230120, 9810944626 E-mail: aasutoshprarambh@yahoo.com Website: aasutosh.info

hile stoking the creative Muse, artist Aasutosh Panigrahi has been facing the limelight in a unique way. A muralist who specialises in large formats, his works have found a mention in the Guinness Book of Records not just once, but twice. Yet the focus of his artistic attention has not seen a shift towards chasing fame and he still continues to be an ardent admirer of nature as seen through the eyes of an artist. Excerpts from an interview: Which of your mural works has been selected for the Guinness Book of Records? The mural that I made for the Gwalior Shyam Vatika Cultural Centre has been adjudged the world’s largest mural and has been entered in the Guinness Book of World Records. It is 9,731 sq ft and is titled Nature’s Spell, as my subject for creating is always some aspect of nature. You have won the Guinness Book of Records a second time also. How? Again, it was for my mural creations. I have

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made the world’s longest mural. It is 98m by three and a half metres and is titled Garden of Eden. It was created for covering a wall space at the Golden Palms Spa and Resorts, Bangalore.

around but make mental notes of the sight. I do not like to disturb even a stone or a bamboo but study them in detail. I then sketch the scene. This kind of study may take months to complete.

Is this record still unchallenged? The only people who had challenged my record were a group of 60 artists from Australia who had worked on a mural for a year-and-a-half and had broken my record of the world’s largest painting (mural). When I heard of this, I immediately set to work again and this time, I created the world’s largest mural. I completed the task in seven days and nights. I did not sleep through the night and stood in a pool of water to cool my feet while painting, as my feet had begun to swell. I won my challenge and created the largest mural in the world!

What technique do you adopt for painting on canvases? Again, I like to be innovative and different. I do not use the brush to paint but I use my bare fingers instead. This is partly due to a congenital formation of my fingers, but also because I find that I can get colour gradations in subtle tones with the pressure I apply through my fingers and palms. The hand movement, the angle of finger application, changes the texture of the colours and the final result is very thrilling. Actually, I should say I use the fingers to apply the paint but it is actually my brain that carries out the actual painting.

What are the themes in nature that inspire your mural art? Long before I begin to work on a mural, I set myself the task of making a deep study of nature. I make several trips into the jungle, for there lies my inspiration. I do not take photographs of what I see

Are you in the habit of using certain colours more often than others? I generally try to carry out a balance of colours in my works, but a lot of colour usage in my art depends on my mood at that time. Technically I depend a lot on the colour brown, particularly three

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definite shades of it. It is a colour I have used for balance of colouration in my works.

the most beautiful of God’s creations, how can I leave her out of such a beautiful composition?

What is your idea about using direct applications of the primary colours in your canvases? I find that usage of direct applications have a disturbing effect on the mind of the viewer. The human eye likes to blend and coordinate with the help of mixing and merging and this is achieved through colour blending. Also, colour applications that are created through blending have a great potential for experimentation and give an artist like me great satisfaction.

How do you plan your art work when you have a blank canvas before you? I first make a deep study of the subject in my mind. The figure of the female in it is very carefully thought out as there is an astute need of right placement to convey my deepest thoughts. I never place the figure arbitrarily. This takes up hours of my day and then I spend the next hour painting my thoughts, with different textures.

You have also used figures on your nature canvases. What does that depict? These paintings are part of a dream series. Outwardly, the work seems to contain a lot of disjointed images of women, animals, birds and nature, and this is because dreams are not a defined composition. The woman on my canvas is not an actual persona but the symbol of beauty. By placing her on my canvas I want to indicate that my art is a gift of beauty to the viewer and since she is The Lexicon Collection

What has been your experience, as an artist, of the market conditions during the past year? I have not taken a keen interest in marketing my own works. It is galleries like Regalia Art Gallery in Gurgaon who stock my works and I have had very cordial relations with them. Also, Gallery Vasant, which has a chosen group of select artists whom they promote, have included my works in their list of select artists and I am happy. My main target as an artist is to have a wide viewership and create the most beautiful of ■ paintings as a gift to society. 153

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RELATIONSHIP WITH THE INANIMATE The artist’s belief is that art is a constant training ground for every artist.

Ved Prakash Bhardwaj Qualifications: M.A., Ph.D. (Hindi) Publication: More then 100 articles and interviews with up-coming and eminent artists and art exhibition reviews published in art magazines and news papers since 1984. Assistant editor of “kalaye asspass” book published by lalit kala academy, new delhi. Shows: Two Solo shows, many Group shows and many art camps in the country. Mob: 9871699401 Email: vednet0512@yahoo.com bhardwajvedprakash@gmail.com www.vedprakashbhardwaj.com

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n introduction to art came to self-taught artist Ved Prakash Bhardwaj in a kindly manner. A neighbour, in his hometown at Indore, seeing his keen interest in art, had gifted him a box of watercolours and a sketch book. Armed with these materials Bhardwaj had ventured to enter his school’s annual art exhibition and thus began his lifelong love affair with art. As an undergraduate student in college, his room-mate was a BFA undergraduate and together the two friends found a lot in common. At the annual college festival, besides participating in the poetry-reading sessions, he also displayed his drawings at the college art gallery, thereby earning recognition in the art circles of the campus. As a professional journalist in Delhi, this association with the arts was further strengthened as he was often sent on the art circuit beat, where Bhardwaj made acquaintance with some of the prominent names in the circle and thus honed his skills and developed a close bonhomie with artists, that has now led to his exhibiting his works alongside theirs, at the city’s prominent galleries. The Lexicon Collection

Excerpts from an interview: Of the artists that you have struck a close acquaintance with, who is the most prominent one? It is artist Vigyan Vrat without a doubt. I had joined an art camp held at Noida, and there he encouraged me tremendously. It was his training with textures and treatments that left a deep impression on my mind. The handling of pastels too, I owe to his assistance. How did you get introduced to the technical aspects of art? Again, it was Vigyan Vrat who made the right suggestions. He advised me to study the works of the European masters for inculcating the basics of an art education. He asked me to observe the methodology that European masters had adopted as far as space division on the canvas went. What were the personal norms that you devised for yourself as you matured in the field of art? While following all the advice that artist friends so generously offered me, I also learnt to introspect and think out things for myself. I came to the conclusion that I should be doing that work which

The king-I

I like to do, rather than imitate or follow a current trend. Also, I should discuss my work with others, for this kind of interaction is a valuable training process and art as you know is a constant training ground for every artist. What were the changes that came to your notice when you shifted to Delhi ? How did these changes affect your artistic creations? I was struck by the differences in attitude among the residents of the two cities. In Indore I was surrounded by multi-cultural inputs as people were culturally very enthusiastic. Events were staged or held in a cooperative way with everyone pitching in to do their bit. Thus, there was a kind of dialogue among the community members in the city. In Delhi, on the other hand, I found an isolationist attitude. People seemed to be cocooned within themselves and busy with their concerns. This had a tremendous effect on my art, and the isolation became evident in my works in different forms. What were these forms to depict isolationism? The figures in my art became the means to depict this state of affairs. Instead of a number of

human forms on the canvas space, there emerged the single figure. It was an abstract form to show that the individual within such a society was actually a nonentity, without a concrete form.

as far as mixing colours went. I could now compartmentalise my spaces on the canvas to show different aspects of one’s personality, by using two variations to show duality.

Did the canvases become depictions of gloom then? On the contrary, they were simply statements of my feelings and reactions and not a commentary on society. That is why I began to include the bird form in the canvases. The bird symbolised my nostalgia for the life I had left behind. In all our classics and in romantic paeans sent to lovers, it is the bird that acts as a messenger and thus the bird became the missive to convey my nostalgia.

Besides birds what other forms in nature do you use as symbols in art? I also place animals on the canvas, particularly domesticated animals. This is ideal to showcase relationships between man and his animals. They become a vocabulary for my art. Sometimes, I even show forms such as a tree bending towards a man to show that nature too, wants to be close to humans and that humans can thrive best in the lap of nature.

What is the material that you like to use for your depictions? My preferred medium is oil pastels and water colours and for years I had continued to use only these. In fact, on suggestions from artists, when I began using acrylics, it was a disaster. I did not know about the technique of mixing and found the colours drying faster than my thought process. Hence I resorted to oils and found it more natural The Lexicon Collection

Birds and animals are the favourite forms adopted by folk artists. Has folk art influenced your choices in any way? Yes. I turn to folk art and tribal art to provide me with contemporary references. They are perfect references for my abstractions. I have a series of works based on such themes. To me, Indian folk art is an all-consuming form of human expression and one need not step beyond our shores if one has ■ discovered the depths of our folk art. 155

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VISUAL DEPICTION OF WOMEN’S LIVES

The artist says that poetry and painting are two sides of the same coin.

Sabia Qualifications: B.F.A. Jamia Millia Islamia, New Delhi in 1991; M.F.A. Jamia Millia Islamia, New Delhi in 1993 Awards: 44th National Academy Award (Lalit Kala Akademi) New Delhi - 2001 10th Yuva Mahotsava Award (Sahitya Kala Parishad) Shows: Participated in several Solo shows and Group shows in New Delhi and abroad. Ph: 011-26432225, Mob: 9810766756 E-mail: sabiapainter@yahoo.com

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iving in the heart of the walled city of old Delhi can be an exhilarating experience. Visually, one is fascinated by the presence of colourful shamianas, dupattas/veils, embodied fabric, kites, carpets, laces and much more. All this lingers in this extraordinary theatre of life. There is an obvious connection between the old Delhi neighborhood that Sabia has lived in all her life and the special sense of time and space she experiences and cherishes in her work. She faultlessly captures her characters, their physiognomy, hennaed hair and kohl-lined eyes to accentuate a typical ethnicity. She captures her figures through the sinuous movement of her lines and the intense richness of colours, layered thick to create nuances of the fabric, its texture and feel. She says that she enjoys painting because of its tactility, the potential of the pigment to transform into flesh, or fabric. Through her art and oblique self-references, Sabia is surveying her journey from a domestic into a professional and artistic space, pondering over the personal and cultural overlap as well as her own struggle. Born in a very rich family of Bulandshahar,

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UP, to a Rajput father and Pathan mother, Sabia inherited both the cultures which are reflected in the character and the ambience of her paintings. Sabia has exhibited at some of the leading galleries in India. She has been honoured with India’s most prestigious award for visual arts, the National Academy Award by the Lalit Kala Akademi, New Delhi, amongst several other recognitions and awards in India. Her works can be found in the collections of some of the leading galleries all over India and also at the PICASSOMAIO Gallery, USA. Excerpts from an interview: When did you become interested in art? Since my childhood I had an interest in drawings. My mother used to make rangoli and my sister was good at making pots from papier-mache. When I was in class 1, I would make flowers and gradually started drawing faces. In the higher classes, seeing my paintings my teacher guided me to take admission in the BFA and after that, in spite of financial problems that occurred after my father’s death, I did my MFA, from Jamia Millia Islamia.

Gitte ka khel

Rassi koodti ladkiyan

How would you describe your paintings? They are semi-realistic and figurative. I try to capture every detail of the figures of my characters. My works depict scenes of northern Indian women, thematically influenced by Islamic culture.

of pleasure, relaxation, servitude and control, through her ruminations. In a world of their own, together they share stories, stitch and embroider, drink tea, play games, dream and entertain themselves.

What is your favourite medium for paintings? Oil and water colours on canvas. I create drawings on rice paper also. I like using very bright colours.

Tell us something about your series Andaaz-e Bayaan Aur on the famous poet Ghalib. Painting and poetry have been regarded as two sides of the same coin. While literature is associated with the demands or needs of the print medium, the media for visual art expresses feelings through lines and colours. And this is exactly what Andaaze Bayaan Aur was – a virtual meeting ground of text and image infused with a lyricism which only Ghalib could evoke. I had translated the emotions of the classical Urdu poet Ghalib in this series. I have attempted not only to unite my paintings to Ghalib’s life and his poetry through different colours but also to explore a new language so that these paintings don’t remain mere translations. These paintings are not just visual depictions of his verses but also reflections of both the culture of his times and the spirit of his being. Hence both poetry and artistry form an integral part of my work.

What are you working on at present? Would you give us a preview? At present I am working on the series titled Simbul Tree. I am depicting this tree from different aspects. How do you project women in your paintings? My paintings are focused on women and their world. In my recent works, I have painted women outside their domestic space, reclining under the shade of a tree, thinking, writing romantic rhymes. They are shown playing card games, chess, chauparh, snakes and ladders, flying kites and skipping ropes. I don’t project women as victims of circumstances. I represent paradoxical experiences

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Sultana bansuri

Ten years from now, where do you see yourself? My life is dedicated to the field of art only and ten years from now I want to see myself as a famous artist internationally. How difficult is it to establish oneself as an artist? No doubt it is difficult, but if you are true to yourself, honest and hard working then you can cross any hurdle and achieve success. What is the one object you always project in your paintings? Hills. I like them because they represent openness, height and, where there is a height, there is always light and we all need that bright light. What is that thing that inspires you most? I had always cherished Mughal miniatures. I like the decorative borders of these paintings and use them to give a theatrical edge to my large canvases. What hope will the viewer take away from your art? It is happiness that is generated through my paintings. Viewers get to know the truth and ■ appreciate every detail and depth of my work. 157

B C

In the company of solitude-II

D A. Lotus pond B. Peace C. Buddha D. Saadhu

DIGITAL ART An artist’s bid to get status for her chosen form.

Sharmistha Dutta Qualification: B.F.A. from Delhi College, in 1993, in advertising. Work Exp: My first stint with an advertising agency in Delhi got me hooked and thereafter I worked with several high profile ad agencies for almost 12 years. Currently in the publishing industry, working as a Creative Director with the British Indian Magazine Living etc. For the last three years though I have picked up my brushes and colours again, and have been painting regularly. In the year 2008, I participated in the Indian Art Summit (the first-ever International Art Summit in Delhi) and had a hugely enriching experience in exhibiting with the best in the Art Industry. Mob: 9810264020 E-mail: sharmistha.dtt@gmail.com www.indianartnews.com/profile/SharmisthaDutta

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efining Sharmistha Dutta as an artist is but a half truth; her art defies a linear connotation. Though her career in art had taken off with the commercial applications of art, in compliance with her higher education, Sharmistha has enlarged her art pursuits to include fine art, particularly portraiture, and now, into digital forms of fine art. This wide ‘canvas’ makes Sharmistha’s work acquire an intrinsic versatility that at once shocks, surprises, and of course satisfies. Excerpts from an interview: Since you have done works in widely dissimilar fields of creative art, do you give up one form when you take up another form of creativity? On the contrary, none of these pursuits are sidelined by me. My training as a commercial artist is put to good use in designing a top-end magazine while the portrait painting in oils is my medium of self-expression. Of late, I have been experimenting and creating a lot of works with digital means and all the forms of art still fascinate me. The Lexicon Collection

What is your favourite theme when you do oilon-canvas works? My oils are women-centric works. I like to do portraits of women, not as typecast images of reallife people, but as a feminine form dwelling in my imagination. It is her figure, her expressions and the look in her eyes that grips my attention and spurs me on.

In the company of solitude-I

adherence to colour monochromes is undergoing a change. I am adding touches of red to the feminine form, for the lips and even a touch of yellow here and there. As I step back and examine the work I find myself approving of the heightened drama that these slight colour inclusions have brought about.

When did you first begin to develop the feminine form of imagery? I cannot actually pinpoint a time and place to this interest. It is virtually an unconscious part of my being, because even when I doodle, I create women and keep on highlighting their eyes, their hair and this is totally an involuntary thing.

What was the take-off that triggered your interest in digital art? I realised that digital art is still not given the status of art among Indian viewers, whereas it is a huge success in the west. As for the personal reason behind the switchover, I guess it was my love for photo shop, a medium which I use to the hilt as a designer of magazine stories.

What sort of colour scheme do you prefer for your oils? I prefer monochromatic colours for my oil works, in contrast to a really bright palette for the digital series. If I choose to paint in shades of green, I will include in the work shades and tones of green, as well as black and greys, to give a depth to the image. Of late, though, I find that this strict

What processes of digital art making gives you the greatest boost as a creative person? I liken myself to a surgeon at an operating table when I sit in front of the computer creating digital art. There is a vast element of ‘play’ that the medium provides for me that drew me into it. So now when I place an image on the screen, I like to experiment with the image. I turn it around,

War

‘slice’ off portions, add colours , play with certain areas, create a colour palette of mergers and even mix forms, create multiple layers, till my artistic eye says ’Stop’. What kind of backdrop do you choose when you create the feminine form? The area around the face of the figure is bright, a sort of backlit device, so that the features become visible. Also, I find that by this stance, the subject of my painting becomes more dramatic. What is the next step ahead in this unique love affair with art? I have already launched my latest venture of a new kind of merger. This time, I am taking the digital images finalised on screen as prints on my canvases. I then work over these digital prints on canvas with acrylic paints to create abstracts. So far, the viewership has made favourable comments about this experimentation. For me personally, the work is punishing hard work because every step of the way requires me to critique the results before going on to the next one. The Lexicon Collection

Caji

Has this form of artistry received buyer approval currently? For art lovers abroad, who have been exposed to such experimentation on a massive scale, the work of an Indian artist in this field is definitely welcomed. At home, the viewership is still in a nascent stage and viewers make copious enquiries about the creative aspect of such technically produced art. Although there are no agents who volunteer to promote such art, large art gatherings such as the Art Summit has provided me with a platform for exhibiting and interacting with viewers about my art. I am sure slowly, and bit by bit, positive changes will occur and digital art form will have greater appreciation. Has this response egged you to exhibit abroad? As yet I do not have a sufficient body of work to encash the growing interest in my form of art. Of course, I am attuned currently on deciding the best gallery venue, while I continue to work at the computer and the easel in a combined effort to please my viewers. Only after I have accumulated my artworks in substantial number, can I think and ■ plan the holding of an exhibit abroad. 159

B C Radha with a long flute

D A. Red leaves B. The onset of Basant C. Shedding down leaves D. Golden forest

ART IN PRISTINE PURITY Blurring pictures for more beauty.

Ravinder Tomar Qualification: B.F.A. Lucknow University 1992 Group shows: Many Group shows all over India 15th Group show of paintings, sculptures and graphics, at the Maharaja Academy of Fine Arts & Crafts, 2006, Gurgaon (Haryana) Participated in Lalit Kala Academy Exhibition, Lucknow, 1992 Participated in All India Exhibition of Painting, Jalandhar, 2005 One-man show, Lucknow 1992 & 1990 Mob: 09818810142,08010276186 E-mail: turmushtomer@yahoo.co.in turmushtomer@gmail.com

s lecturer in the Graphic Design Department of IGNOU at Delhi, Ravinder Tomar spends his days with the linear aspects of art. At home, after his working day is over, Tomar is a free spirit, ruminating on such thoughts as the significance of a rainbow in one’s mental make-up. As a result, he has earned laurels as a landscape painter who likes to glean out the beauties of wild and untrodden wastes, that create a familiar sense of recognition in all our minds. Excerpts from an interview:

Why are you fascinated with painting wastelands on your canvas? I am enchanted by nature in its truest form. My art is a way of ‘stealing’ this unspoilt aspect of nature and keeping it captive on my canvas. What are your favourite haunts for such painting trips? I like to set out on my own into the outskirts of cities such as Noida and Delhi. I also make frequent trips to the foothills of north India where too, I get

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plenty of opportunities to study nature in the wild and untouched form. All your nature studies are in brilliant colours. Do you also do works in black and white? I am equally interested in working in black and white, or in a single colour tone, but the subjects of those paintings are not the same. When painting landscapes, I am often reminded of my teacher Shri Satish Chandra. He used to say that a single colour image creates a minimalist look. A riot of colours on the canvas compensates for this minimalist factor and adds fullness. The brightness of nature continues when it is captured through a mix of colours. Do you also employ special techniques to paint your colourful landscapes? If you look closely at my works, you will find that the images and objects do not have sharp, welldefined outlines. They give off a blurred, merging effect as it is found in nature. So though I teach students the merits of graphic design, my art follows the graphic rule in a different and unobtrusive way. To get the blurred image, I use the technique of smudging the colour application

Golden leaves

with a rough cloth. I use cotton floor swabs that have been well used, and then properly cleaned, instead of the more conventional jute scraps, to create this smudged look. How did you hit upon this idea of using such an unusual medium to create an artwork? It was my teachers again, who used to encourage us to try out new materials and, use existing materials in a novel way. This led to a habit of experimentation and though this way of blurring colours is not a new discovery of mine, the material I use to create this effect is entirely my own find. As a landscape painter do you resort to the camera to capture sights that strike you? Strangely enough, I am not a painter who reproduces a camera image on canvas. This is perhaps due to the fact that my home town is Haridwar. The place is scenic as it has the river, stretches of forest beyond the city limits and, as a child I would often bunk classes at school and take off for the woods. All those images are imprinted in my mind and I don’t need camera images to recall them.

When you return to the same sights today, is there anything new and unexplored that you find in them? It is an ever-changing landscape and much of it is a landscape of dry scrub and wasteland whereas during my childhood the surroundings were much more green. The forests were thicker and the felling of trees was not so pronounced. The city had not spread into these forested areas. But, of course, there are the groves that still exist. Now, the trees in them are more lush and grown. Nature seems even more attractive. But in these spaces I can still find the odd tree with its branches lopped off, the tree top cut off or burnt, and a few left to grow in their natural form… In your paintings, the cottages set amidst the trees are red-roofed whereas in the countryside we see mostly grey cemented homes, or thatched huts with mud walls. Is this not incongruous? The red roofs are introduced as a way of implementing brightness into the painting. Red has the power of attracting one’s vision and since it is not true to our village setting, I usually blurr the roofs or paint them in small patches or at a The Lexicon Collection

Blue clouds

Blue Krishna

distance. Sometimes I even create red walls to bring brightness into the painting and it makes sense because my painting is not a photograph but a depiction of my mind and emotions. In that case can you identify the associated colour with the emotion you wish to depict? Although this is not an exact equation of a particular colour to a particular emotion, in general, I tend to use brighter colours on days when I feel elated. If the mood is beset with boredom or even dullness, the physical aspect gets rubbed off in the painting and the colour palette also tends towards dark and sombre tones. So my paintings display a variety of colours because as a human being my mood is not always happy and bubbly. What advice do you impart to your students? I keep telling my students that the art field is a wide open field, full of different choices. Hence they should explore the field fully and then decide on their career options. As graphic-trained people they can opt for careers in cinema and advertising or even go in for fine art and the performing arts. ■ 161

B C Artist Roop Chand being honoured by the President of India, Smt. Pratibha Devi Singh Patil, 2007

D A. Dhyaanmudra B. Positivity C. Myriads of emotions D. Stand for serenity

A BRUSH WHICH HAS DEPTH An artist whose paintings reflect a social message.

Roop Chand Qualifications: Three year Diploma in Fine Arts (Passed with first position) from the Sarada Ukil School of Arts, 1993-1996 One year Diploma in Commercial Art, from the Sarada Ukil School of Arts Awards: 14 Awards including National Award in Drawing by A.I.F.A.C.S., New Delhi, 2007; National Award by Ministry of Health (Govt. of India ) 1995; Rajdhani Ratan Samman by All India Journalists Front, New Delhi, 2002 Shows: 16 Solo shows and 49 Group shows in India Presently working: Art Teacher in Maharaja Agrasen Public School, Ashok Vihar, Delhi. Ph: 09811138051, 09899554133, 011-27302205 E-mail: roopartist@yahoo.com, roopartist@gmail.com. Website: www.roopartist.zoomshare.com

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oop Chand’s works are like the magic broom that transports you to the haven that your heart yearns for. His canvas opens up vistas that invite you into unfathomed realms, gently egging you towards fulfillment. Roop, despite being a surrealist, doesn’t portray the ruthless realities of life as an angry painter. He does just the opposite. His surrealism, so far, is limited to his ‘only wish’ to spread the message of love and peace through art. And hence, his works seem as simple, honest, and innocent as his intentions, with the reoccurring image of the Buddha never leaving his canvases. He feels that art does not have any boundaries and an artist should make the optimum use of the canvas to give expression to various thoughts. In his paintings too, his message of love and peace is spread through shapes like a gun, a flying bird, joined arms, a swan and so on. But a close look at them reveals that they are laden with innumerable figures and elements of nature. His paintings convey a message and has depth. Coming from the deep recesses of his heart Roop Chand’s works revolve around nature. Born and The Lexicon Collection

brought up in Delhi, Roop says, he had the zeal to learn painting ever since he took a pencil in his hands. For several years, he has been teaching art to students at the Maharaja Agrasen Public School, Ashok Vihar, Delhi. He has held successful solo, as well as group shows in different galleries and art centres. He did his diploma in Fine Arts from the Government School of Art, and learnt painting under the guidance of Rameshwar Broota. Right from his school days a number of awards along with the prestigious national award, have been bestowed on this young and talented artist. Excerpts from an interview: Do you think you are an inborn artist? Yes, I can say that, as I had a tryst with the canvas quite early in life. Though at that time, in place of brush and paint it was just pencil and rough paper, gradually this interest blossomed into a full-fledged profession of painting. What constitutes the subject matter of your paintings? Each of my paintings has a social message. Some time back I made a painting to encourage people to vote for the Taj, in which I showed a

Love pot

Untitled

young girl with flowers and Taj in the background. The whole idea was to show that this beautiful monument which has been built in the memory of Mumtaz Mahal could not have been possible if she had been killed during childhood itself. ‘Save the Girl Child’, is the message I tried to convey through this painting.

textures. Sometime I don’t use the brush and play with colours using my hands.

Tell us about your style and themes of the paintings. I work in every style, whether it is abstract, realistic or landscape. I don’t want to restrict myself to a particular style. I had worked on different themes related with the social cause and awareness. Relationship, happiness, nature, Buddha, Ganesha…themes are infinite. As an artist it is my duty to convey a message for the betterment and upliftment of society.

What is art for you? For me art is an enjoyment. Whatever I want to say comes out through my paintings. I aspire to touch the pinnacle of success through my art. For me my art is a medium to reach and appeal to the masses.

What is the medium you are working in? I had started with the water colours. Now I am working with oil, acrylic, charcoal, pen and ink. I believe in creating my own style using mixed media. I keep on experimenting and use rollers, spatula, comb, toothbrush, to give innovative

Why do you use only bright colours? Bright colours emit positive energy and happiness and I want that my viewers feel this happiness and pass it on to others.

Famous artists who have influenced you? Salvador Dali and M.F. Hussain have impressed me. But M.F. Hussain is my role model. I had a chance to meet him and that was one of the most memorable moments of my life. Do you use symbols to enrich your art? To create an atmosphere around the main theme, it is necessary to create symbols. To show the concept of peace and calmness it is relevant to show flowers and rivers etc. The Lexicon Collection

In search of peace II

What is your opinion regarding the increasing commercial aspect in this field? True artists only believes in work, but we can’t ignore the commercial aspect related with the work. We need art galleries for promotion and no doubt they are beneficial for the purpose of selling and exposure. An art gallery owner has knowledge and through him Indian artists are getting acclamations globally. Auction houses are also playing an important role in promoting the talented artist. You are a nature lover and it shows in your paintings. Why are you so inspired with nature? We are all part of nature. The pristine beauty and an element of mystery in nature seems to beckon me. I travel a lot and it gives me a chance to remain close with nature and its inhabitants. What advice would you give to an artist just starting out? There is no short cut. Take one single step at a time but don’t stop. Even if you have failed in your attempts, do not get disheartened. Do something ■ different, but keep a positive approach. 163

B C

D A. Untitled B. Sub-vision-10 C. Sub-vision-08

THROUGH THE EYES OF PEOPLE

D. Sub-vision-11

An art that is not a critique but a comment.

Dr. Anjni Prasad Qualifications: B.F.A from Patna University, Patna in the year 1991 in First Class, M.F.A. from K.S.D. Sanskrit University, Darbhanga in the year 1995 in First Class, PhD in (Some Aspect of Religious Art & History of Combodia) from Magadh University, Bodh Gaya in the year 2003. Shows: 15 Group shows, 15 Camp shows, 3 One man shows and 20 Art Exhibitions. Collections: India and abroad Honorary Positions held: Secretary, Bihar Pragatisheel Kalakar Sangh, Patna. Convener, All India Artist Camp organized by Bihar Pragatisheel Kalakar Sangh, Patna - 1993. Ph: 9911071672, 9911809340 E-mail address: anjniprasad@yahoo.in, prasadanjni435@gmail.com

hen Dr Anjni Prasad made his career choice, it was not as an artist but as an art educator. Life was a hectic round of lectures, talks, contacts with groups of students and research into various aspects of Indian art, at the College of Art at Patna. On taking up the paint and brush, in the course of his teaching assignments, the artist within him came to the fore and before long, a body of work was ready for exhibiting. The decision to exhibit these works in a collective showing in the capital was to change things forever for this artist. Excerpts from an interview:

What was striking about that first exhibition that you held in Delhi? I recall the tremendous opportunity that opened up after that showing. The group show, named Agni Path, had an all-India character as the artists were from various centres of India . It was held at the Lalit Kala Akademi and almost all the paintings at that show were a sell-out. My first sale was 164

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Sub-vision-12

clocked at that show and the buyer was the noted art collector Neville Tuli.

attracted to those people who are the victims of injustice.

Has there been a follow-up of that group show in Delhi? As a matter of fact, there will be one soon. The same group who had joined me in holding the previous show, are joining me in yet a larger exhibition. This is to be held at Okhla and will feature not just painters but also personages from the fashion and beauty industry to enhance the feeling that art is not a linear approach to beauty and that creativity takes on several forms other than just art.

What is the oft-repeated theme in your works? The constant theme in my works is the life of the city dweller in a mega city like Delhi. I do not choose the upper crust of society but those of them who are the visible faces on the street, such as balloon sellers.

What was the chief aspect in the life of the balloon seller that you depicted in your art? I kept on observing these sellers at street corners. I imagined their existence, their effort to eke out a meagre living and thereby bring a little happiness into the lives of other people in the city. Irrespective of his own impoverished condition, he is seriously concerned with the task of making others’ lives happy. In the course of my painting around this theme, I realised that I am instinctively

Have you tried to help these people whom you have seen on the roadside? It is not a conscious effort on my part. I have not given them charity or sat down with them to record their miseries. I feel that as an artist it is my role to help them through my art. Through my canvases I thrust them on the minds of my viewers and in that way my art is ‘helping’ them to cope with their burdens. What is the current theme in your artworks? Currently I am working on the theme of the female figure. In some paintings, the balloon images are combined with that of the female figure. In them, the flimsy nature of the balloon

Sub-vision-09

symbolises the non-serious attitude of today’s young women. The presence of the balloon depicts their vulnerable state. There is also a level of abstraction in your art. Is this also a way of analysing the trends in the society? The abstract form is a technical tool. After all, creative forms are not true to life. In that case they would cease to be creative and become copies of the factual. My forms are an expression of the ideas in my mind. They are the epitome of my creativity. If I use the realistic form then my art would become a craft and hence limited in its appeal. I agree that there is a fine line between creativity and craft, but creativity triumphs in the end. What is the technique that you adopt to create abstractions? My abstract canvases have an underlying human figure but in a distorted form. This form helps to express several ideas. For instance, if I want to express macho strength I create a multi-hued but blurred imagery of a muscular form bent with a weight implying that even a titan becomes The Lexicon Collection

distorted in the grind of the city and its mechanical lifestyle of a nine-to-five job routine. What is your approach to the use of colours? Even the colours on the canvas have a surreal and abstract rationale. They are textured and in several tones because this is seen as a distortion in my art. I was a graphic artist and textures are my forte. After colour application, I use a sponge to diffuse the colour. Very little brush work is applied. Several layers of colours overlap. It is not a haphazard application because in my mind’s eye I predetermine the spatial corners and the colour applications therein. Do you consciously resolve to change after you complete a series of painting around a theme? The answer is that the mind dictates the changes and not any voluntary step taken by me. Of course, it is my thoughts that you can feel and ‘see’ on the canvas and my effort through my art is to see how well I have won over the viewer to my way of thinking through the canvas that I create. And yes, the subjects come up on their own. If I try to think ■ out things, then I, too, will become a zombie. 165

B C

D A. Rhythm of joy B. Portrait-I C. Nature D. Portrait-II

A FEMININE SENSIBILITY An artist who uses squirrels to bring the pictorial space to life.

Anita Tanwar Qualifications: BFA and MFA from Jamia Millia Islamia, New Delhi. Shows: Three Solo shows, 12 Group shows, Six Camp shows and several others. Awards: Merit scholarship from JMI; 10th Yuva Mahotsava Award from Sahitya Kala Parishad; 68th All India Annual Drawing Exhibition AIFACS Gallery; J.R. Fellowship from Ministry of Human resource Development, Govt. of India, New Delhi. Collections: Sahitya Kala Parishad; National Gallery of Modern Art; Many private collections in India and abroad. Mob: 9810958364 E-mail: anita_tanwarartist@yahoo.com website: www.anitatanwar.com

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eauty attracts everyone. Therefore Anita Tanwar cannot detach herself from the power of beauty and the problems of women. Her paintings show the colour reflected in women’s behaviour. Her work is displayed at the Sahitya Kala Parishad, Delhi, the National Gallery of Modern Art, Delhi. She has painted several series of female figures over the past 10 years, and she intends to paint women forever. For her, a woman is a symbol of beauty and anything which is beautiful and sensuous appeals to her. Excerpts from an interview: When did you become interested in art? I am born in Delhi and ever since the time I was in school I had a great interest in doing painting. The real interest in art came to the forefront when I was in the 11th and 12th class. The desire to become an artist was very high and that took me to Jamia Millia Islamia, where I did my BFA and MFA in painting. There the atmosphere was so encouraging and wholesome that it helped me in shaping not only my artwork, but also my personality. The Lexicon Collection

Mother and child

What is your style of painting? I do figurative painting. As we all are part of nature, I keep myself close to nature which is my original source of inspiration. How do you choose your subject matter? What I see and feel in my surroundings becomes the imperative part of my subject. Apart from that, I choose, my subjects from my own experience with day–to-day life. Why do you paint women in difficult circumstances? I feel a woman is a symbol of power and tolerance and only she has the capability to handle all adverse situations positively. Where do your ideas come from? Would you tell us about your creative process? My ideas generally come with the experience which I have in my life and what I feel and observe gets transformed into painting. Sensitivity of handling thoughts and satisfaction in portraying them, make the creative process stronger. With the combined effect of sensible and sensitive thinking

Recollecting their beautiful movement

Mother and child-II

My dream

my heart and hands meet at one point and that point is the complete process of creative painting.

abandon that I adore which I want the viewer to enjoy, relate to, and react to the work.

space to life. Squirrels are a symbol of life, of movement.

Your favourite medium and why? My favourite medium is oil and water colour. I feel the feeling which is expressed through these mediums allows brush moves to flow very softly and with sound effect.

What challenges have you found in your artwork? The challenge is that what I paint in my painting is easily understandable for those who have a sensitive approach.

What inspires you to paint and how do you keep yourself motivated when things get tough in the studio? I am not sure what I could accomplish in my life if I did not try to create something concrete. Forming something outside helps from something inside. Things are generally tough in the studio; that’s why I have to keep at it.

What is your greatest ambition as an artist? My greatest ambition is to do painting continuously and leave an impact of my art in the art field.

Would you say art has lost a certain urgency at the moment? It is unable to engage with our context or contribute in a social sense? I wouldn’t say that. One good thing today is that even younger artists are able to sell their work. There are also many scholarships and travel opportunities for artists these days. But, unlike in the West, where they live alone and away from a young age group, we are more dependent on our family structures here. The close-knit family also makes you not just servile, but timid in many ways because you are answerable to a larger network of people for whom you care. This often prevents you from taking individualistic positions so important to art.

Do you take the help of your colour palette to assist in a better understanding of your art? I know that most people and artists as well, associate certain emotions with colours and use that association in paintings. But for me, I just enjoy the colours. In a sense I liberate them from the necessity to ‘mean something’. Colours have a wild

Do you feel that your work reflects a feminine sensibility, and that it seems to capture, in particular, the dilemma of the Indian woman? A feminine sensibility? Yes, the dilemma of the Indian woman reflects in my work only in as much as it reflects on me and I am an Indian woman. You have used a lot of squirrel forms in your paintings. How do you relate them to your paintings? I have used the squirrels to bring the pictorial The Lexicon Collection

What advice would you give a young artist just starting out and wondering where to start? My suggestion is that an artist should give emphasis on the work that he or she is doing. One needs to concentrate on his or her artwork to ■ achieve the desired goal. 167

C A. My dream girl B. On the path of Krishna C. Caring chums

UPHOLDING PEACE AND SERENITY

Buddha

The way you look at life, makes all the difference. Dalip Chandolia Qualifications: Three years Diploma in Fine Arts (first division)” from Sarada Ukil School of Art (Govt of NCT New Delhi); One year Diploma in Commercial Art from S.U.S.A. New Delhi; Bachelor of Pol. Science (H) University of Delhi Flair of painting: Semi figurative USP: Presence of birds in the paintings Colour preference: Green and blue Now working as an Art teacher at G.D. Goenka Public School , Vasant Kunj, NewDelhi. Ph: 09899794110 E-mail: dalipchandolia@gmail.com dalipchandolia@yahoo.co.in

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ife has many facets; sometimes gloomy, at other times happy. It is the way one looks at it that makes the difference. Disaster and failure are there all around us but artist Dalip Chandolia does not believe in depicting this form or aspect in his artwork because for him art is for giving joy and excitement, to feel the goodness and beauty of things around us. He is an artist who holds the brush for upholding serenity and sprinkling colours on the canvas for depicting bliss and harmony. Dalip didn’t have any artistic background, but still carved out his own niche. His canvas has a shaded background in scribbled patterns which symbolise emotional strain, while the inter¬connected spirals bordering entwined figures denote the threads that keep the conjugal relationship working. Dalip Chandolia’s canvas series, ‘Couple’, stood out because of its delicate lines and interplay of reality, researched theme, before he began working on the series. He keeps experimenting with his art and its mediums. His paintings have serene eyes, smiling lips and calmness as their focus, with an The Lexicon Collection

appealing fusion of ideas and emotions. He is an art teacher at G.D. Goenka Public School , Vasant Kunj, New Delhi and gives full credit to his school authorities and colleagues for his artistic growth and excellence. Excerpts from an interview Since when did you realise that you were cut out to be an artist? From childhood, but when I took painting as a subject in the 11th standard, it was clear in my mind that I had to pursue this field further. While doing my graduation, I joined the diploma course at the Sharda Ukil School of Art in Delhi and after that did the I-year course in commercial art as well. Now, it is my full-time profession. What is your style of painting? It is contemporary art or semi-figurative. I have developed my own style and form to establish an individuality of my own. I had started with sketching nature landscapes but at that time also I was developing my style. My paintings always depict happiness and joy of life as I want to give my viewers hope and a certain amount of pleasure when they look at them.

You and me

In your paintings the presence of birds is very distinct. Why have you used them as a form? The bird is a symbol of peace and serenity. The beginning of dawn arises with the sweet chirping of birds which infuses a freshness and gladness in us. I have a feeling that by creating these birds my work has become more lively and admirable. Your main focus is on the relationship between man and woman. How do you perceive this relationship? I believe this is one relationship which is the base of the society and the family. A woman is more enduring than a man and she has the capability to bind a family and nurture the values needed for a good relationship. If a relationship between a man and a woman is strong, they can face any problem. Now, the arrival of the Net has opened up new ideas, new energies, and new areas to explore, so before painting this theme now, I have a scope to study more on this subject. How do you decide on colours? I use only bright and eye-catching colours to show happiness, to instill energy in the paintings.

These bright colours encourage me to work. Mainly I use red, blue, gold green, brown and ochre. Tell us something about your latest collection. I am working on the theme of Buddha. The main concept of Buddhism is that the lotus flower blooms in the sludge and if you are true to yourself you can give love to others. There is an appeal for the masses in my paintings: accept the challenges of life with a smile because every dark cloud has a silver lining. Do you paint for art’s sake, or for a commercially positive angle? One can’t deny this fact that for survival you must think in terms of commercial aspects, but I don’t compromise with my emotions and feelings and depict as desired. Artists should not let vulgarity seep in. The purity and beauty in art have to be retained. The artist needs to work hard and continuously refine his art. As an artist how would you define your success? There is a still long way to go as I have to establish my identity on a wider scale. The Lexicon Collection

Charming couple

Serene feelings

How is the art environment in India? This field is growing, but artists don’t get any support from the government. There are no activities related to art, sponsored by the government and what we expect that the government should be doing, is now taken over by the galleries. Any advice for the up-and-coming artists? The present generation of artists is full of energy and talent, but they want everything overnight without making any substantial effort. A proper way to move ahead is through step-by-step learning and, of course, with the guidance of your guru. Ten years from now, where do you see yourself? I want to become an artist like M.F. Hussain and Satish Gujral. I want to establish myself as a wellknown artist in the international market where my recognition and true identity will only be through my paintings. What is the medium you are using for your paintings? ■ Acrylic, mixed media, pen and ink. 169

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SYMPHONY OF HUMAN ELEMENTS AND SURROUNDINGS The artist finds human nature the most fascinating thing in this world.

Shobha Nagar Qualifications: B.F.A (painting) from Jamia Millia Islamia University, 2006; M.F.A. (painting) from Jamia Millia Islamia University, 2010 Shows: 14 Group and Annual Exhibitions in India. Collections: Mrs. Meena Mehta and other private collections in India . Awards and Camps: Second Prize in Annual Art Exhibition in Jamia Millia Islamia 2008; Ravi Jain Memorial Award in (Painting) Dhoomimal Art Gallery 2009; Kala Rang Kala Sang All India Artists Camp, 2008; Kala Rang Kala Sang, All India Artists camp in Gwalior, 2009 Workshop and Art camp under Savi Sawarkar in K.R Narayanan Centre Jamia, Delhi - 2010. Mob: 09990965892, 911122916246 e-mail: nagarshobha1982@gmail.com

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Untitled-V

Untitled-VI

ach painting of Shobha’s that comes out after a lot of effort and passion reaches out to a truth – an intuitive understanding of the nature of reality. A deep understanding and knowledge of the symphony of human elements and surroundings comes alive on the canvas, as artist Shobha Nagar plays with colours and forms. This up-and-coming artist dramatises her imagination mainly with oil colours. Using oil and enamel in her creations she has attempted to develop an elegant, formal style of her own. She has always attempted to portray the torment of women through her paintings. Excerpts from an interview:

joined Jamia Millia Islamia to do BFA. Now I am in the final year of MFA.

important part of any painting. Usually, I use red, grey and blue.

What is your style of painting? It is figurative and I like open spaces, so I don’t fill my canvas with unnecessary objects or characters. Initially I used to make element figures that are whatever I wanted to portray; related things were also portrayed.

What are you trying to depict in your male figures? I have always seen man in an aggressive mood, but I want to show peace and a smile on his face. I want to show that they are also beautiful; that they can be good and loving.

What subjects do you depict in your paintings? My figurative paintings are most of the time women-oriented. I depict women’s roles and their importance in our lives. I portray the dilemma of a human being, whether they be men or women.

Is the monochromatic use of colour, a natural evolution or a deliberate attempt? I don’t know. It depends on the subject matter. For me, blue is the strongest colour.

Did you always know you would become an artist? I don’t belong to any artist family and when I was in the 12th class, interest towards art developed and I had started drawing, sketching, and, in fact, copying others’ works. Even though, there was nobody to guide me, I had taken admission in the BA course. But the passion for art was increasing with time and ultimately I had

Why do you paint women in the light of difficult circumstances? I feel that a woman’s life is a highly problematic one, irrespective of which class or creed she might belong to. She is so surrounded in her day-to-day problems that she ceases to be an individual.

Being an artist, what is the most captivating thing you find in the universe? I find human nature the most fascinating thing in this world. All the situations and incidents that take place inspire me to paint, but in the context of women, I feel she has the capability to come out of difficulties as a stronger and more enriched person.

What are the compositional inputs that you infuse into your paintings to give them your personal touch? In my paintings you will find lines and figures are very prominent and these two things make me stand apart.

How about your colour palette? It is monochromatic. I feel that colours are a very

Who has been the main influence on your art? I would not be able to name any one influence

Do you paint for art’s sake, or commercially? Definitely for art’s sake. It is my inner feeling and

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or inspiration for my works. I can say that I find K.G. Subramanian and Arpita Singh’s works very appealing. I admire their choice of colours and strokes. Ten years from now, where do you want to see yourself? I want to be known as a renowned female artist like Arpita Singh and Nalini Malani. What do you think about the benefits an upand-coming artist gets from the art galleries? Being students, they are out of my reach for us. For new artists it is very difficult to get an entry or exhibit their paintings in the galleries.

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Untitled-VII

expression. The kind of dilemma I go through comes out in the form of paintings. The biggest irony is that people don’t understand each other even in the family and that is the biggest reason behind all problems. What is the starting point and what is the conclusive point of a painting in your case? I don’t start directly on the canvas. First I prepare drawings on a paper and then do a base on the canvas. Once the base is ready I draw and experiment with colours. I don’t like very thick colours, so it is easy for me to change them. When I feel that the elements I have infused are related to each other then it is finished for me. I like experimenting with the colours and textures. What does a prize matter to you? It matters a lot, especially for an up-and-coming artist like me. It gives us encouragement and enthusiasm to achieve our goals. But work is equally important – rather good work – and if you are honest and dedicated to your work, you will ■ undoubtedly get appreciation. 171

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D A. Thirkan B. Puja samagri C. Shanti after uththan D. Serene waters

A REVELATION OF BEAUTY AND SERENITY An artist whose work is not merely an imaginative twist of reality but a depiction of surrounding realities.

Puja Sharma Qualifications: M.Phil (English), MA (Drawing & Painting), Diploma in Art and Craft Shows: Many Group shows and Camps in India. Awards: 71st Annual Exhibition Amritsar 2005. Collections: Many galleries in India and abroad. Secretary of Wisdom Society of Creative Arts and Crafts. Associate Editor of Golden Beads (A book on contemporary artists). Freelance writer and art critic. Mob: 9871577808 E-mail: freezingnight82@gmail.com

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rt is a subject that does not have any fixed meaning. It is always subject to different interpretations by a diverse range of aficionados and the interesting part is that all of them are correct in their appreciations. It is a huge compliment for an artist if her work is considered as a cultural product and not just an object to be hung in the drawing room. Puja Sharma is one such artist. She has managed to evoke fascinating reactions from the art fraternity. Her work is not merely an imaginative effort given to unforeseen realities. Rather, it is concerned with the surrounding environment. Her work seems to bring into the limelight a woman’s world – not just an outer world but a woman’s inner thoughts, dreams, ideas and her reflection. She is intelligent enough to depict the relationship between men and women with depth. You will find a beautiful melange of colours so very sumptuously woven that all you want to do is say kudos to the celebration of beauty, individuality and intimacy of a woman. Puja paints themes of naturalism. Her richly The Lexicon Collection

varied works depicting subtleties and complexities of human relationships and various aspects of nature mirror the artist’s impressions. They present contrasting facets of modern art. Resplendent in rich and bright colours, they are archaically expressive, striking and thought-provoking. The pure beauty and serenity of her works reveal a whole world of ideas, images and emotions dictated by her faith in human relationships. Each painting has a distinct personality of its own. Being a lover of nature, she is immensely fascinated by its beauty. And she beautifully captures the phenomenon of nature on her canvases. For her, it’s sheer joy to incorporate all the wonders of nature — the glorious sunrises and sunsets, flowers and the bright stars on her canvas. A teacher of English at a reputed school, she did her Master’s in English as well as in drawing and painting. She is a qualified Yoga teacher, naturopath and homoeopath. Excerpts from an interview: When did you first realise your aesthetic leanings to art? I am a literary person and art is very closely

Sensuality

related to literature. Art is found in every sphere of life. From my schooldays, I had realised that I can create something and I got the chance to participate in different activities in school. This enriched and encouraged me to show my talent in this field. Since my school days, I knew that this is a field where my expressions can explore the infinity of the universe. As an artist what is the most fascinating thing you see in the universe? I find joy in every part of nature. I can enjoy the beauty of the smallest insect and the art of its living. For me the most fascinating thing in the universe are flowers because of their colourful forms. Wherever I go, I click them in my camera. I have a huge collection of pictures of flowers. Sometimes I feel that flowers are talking to me. What are the subjects that you like to paint? I like to paint ‘Ganesha’ in many forms. The main themes of my paintings are relations between man and woman, the love between them. This relationship is very natural, has many spheres and has vast potential for painting. I am a nature lover

Aroma of memories

and my paintings are based on the beauty and charisma of nature and its creatures. Why do you consider painting as a medium of self-expression? It’s simply the best medium for me to express narratives, human emotions, and lyricism, energy, musical explosions, uplifting of the senses, the drama, tensions, and juxtapositions of feelings and colours. Paint is where my passions lie and a medium I best understand to create a new language that can surprise, inspire, excite, energise and uplift the viewer as well as form part of an investigative journey for my own internal feelings and outward expression. Are auction houses helpful in the development of art? I don’t think so. Sometimes they bring you very disgraceful results. They change the artist’s expression and style as per their needs. These days art galleries are just sources for presenting one’s artwork or publicising it. Now, through the Internet also, artists are selling their works. The Lexicon Collection

Chalo dildar chalo

What is your opinion about the growing commercial angle in the field of art? It is being commercialised slowly and as artists are doing their work for money, it is hampering the creativity of an artist. These days an artist is known by the price value of his painting. One should paint for art’s sake and not for commercial requirements. What are the current sources of inspiration for you? It is the changing colours of water. Different shades of ice and glaciers mesmerise me. I am doing paintings using grey colour, very light shades of Prussian blue, and ultramarine green. What are your plans for the betterment of the art fraternity? I want to open a school of art for school students in the near future. Being a teacher, I have often come across very talented children with an inclination towards art, who could easily be coached into making very creative paintings under proper guidance. It is this untapped source of talent ■ that I want to bring before the art fraternity. 175

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CO-LINEAR ART AND FILMS Any artwork without a pair of feminine eyes seems incomplete.

Indu Mohan Qualification: Masters in Hindi Literature Exhibitions: Solo show: Press Club of India, 2009; Group shows: Art Mall , Poorva Sanskritik Kendra, AIFACS, Sahitya Kala Parishad Gallery Award: Awarded by IFJA (Indian Farm Journalists Association) Mob: 9654617191, 011-27316588 E-mail: indumohan61@gmail.com

he home atmosphere in Indu Mohan’s household revolved around art. Even her grandmother, in her eighties at that time, had a penchant for art and so when Indu Mohan’s school books were scribbled over with drawings, doodles and caricatures, no one in the house admonished her for wasting her time. Come marriage and Indu walked into a home where her husband and her in-laws were overly supportive of her artistic inclinations. But was it a cakewalk? Her own accounts tell of a journey both bitter and sweet along the road to fulfillment as an artist. Excerpts from an interview: Why did your parents not let you go for an artoriented course despite knowing of your interest in the arts? Yes, my parents were very understanding and very keen on letting me follow my dreams. They were also very aware of the fact that art is not always an easy professional choice as openings in this line are not very easy at all times. So I took up a course in Hindi Literature for my graduation and it worked fine for me.

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The spreading fragrance

When did you exhibit your works for the first time? I have been doing art exhibitions ever since 2004. My first show was held at Shanta Art Gallery in New Delhi. I received tremendous public response and someone even suggested that I should try to get media coverage on my art efforts. Of course, the rest is history as they say… What is the theme that you often explore in your art? Invariably the subject of my art is woman. In fact, my first scribbles in my school books were copies of the fantasy pictures of goddesses and fairies that were printed in children’s magazines such as Chandamama. I copied these images relentlessly and then began to innovate around them. I found that the faces with their eyes looking downwards and a slightly bent head, suggested a brooding figure lost in her own thoughts and caught up in a fantasy world of her own. This became my source of emotional inspiration. What sort of women attract you to paint them, currently? It is the motherly image of womanhood. I am

attracted by the idea of a woman whose womb holds new life. It evokes the thrill of creation for me as an artist. I feel that this makes the woman live in a dream situation beyond the actual world where she dreams big for her future and that of her child’s. What is the specific technique that you employ for depicting emotions in your paintings? I have called my technique paper cutting. I use dry crayons and pencil colours on a sheet of paper. Then I cut around the form and paste a fresh unknown image on it. I keep experimenting with a riot of colours, subject to my mood of the moment. By an involuntary evolutionary process the colours keep mingling and blurring. One after another they merge and emerge. The final effect seems to be none of my volition. I even remove what I have been doing and hey presto! I find the painting keeps improving with this removal, or adding of the layers. The oft-asked question I have faced when I carry on doing this layering is when I will stop, and the answer is that there is an instinctive point when I know that the end has been reached.

Reflection of inner pleasure

What are the favourite colours that you tend to pick for your technique? I find myself invariably picking up crimson and coffee-brown shades. Even pure coffee attracts me. I use colour pastels and a fine blade edge to etch out the lines and flowing strokes of the colourlayered paper. The curvaceous forms emerge. I use grey and fawn. I prefer to use stark white for contrast and effect. What future do you see for your unique style of work? In the future I’ll be improving on my paper work and layering technique. I will also indulge in a lot more of experimentation. And of course I hope to take my body of work before a still larger audience. Do you believe in experimenting in other techniques? I have mulled over the possibility of trying out my paper technique on canvas, using oils or other mediums. But as yet the idea is not a firm one. What I know for sure is that even in the future, I will still be focusing on the feminine form in my art. My art sense tells me that however pretty a work might The Lexicon Collection

The ecstasy

be, without a pair of feminine eyes gracing its surface, the work looks incomplete. How would you compare your style of art with other conventional methods of working? For one, my work has evoked response from sources other than the art fraternity, primarily because of its unusual character of being an original artwork that does not use the laid-down art techniques. I have received appreciation from quarters such as the Ministry of Textiles and from magazines. When I carried a body of my works to Dilli Haat, in New Delhi, I found eager customers and shop owners willing to invest in my efforts. At galleries I have always been recommended fresh outlets to showcase my works. What is the closest comparative form of aesthetics with your art? I would say it is films. I would classify the works of the great masters equivalent to a huge blockbuster success. My art is of the category of an art film, likely to appeal to a genuine and interested handful. ■ 177

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D A. Unknown journey-I B. Unknown journey-II C. Alphabets D. Faces

A NOVEL TAKE-OFF An artist who gives a decorative angle to his art.

Ravi Krishnan Art Education: Self-taught Shows: 19 Group Shows in India, M.E.C. Art Gallery (New Delhi) in 2008, Desire Arts - Open Palm Court, India Habitat Centre 2009, Convention Foyer, India Habitat Centre in 2010. Participation: Ovia Nun Kalai Kuzhu, (Chennai) in 2001, Ovia Nun Kalai Kuzhu, (Chennai) in 2002. (AIFACS) Annual All India Art Exhibition (Delhi) in 2007. Mob: 9910495597 E-mail: artravikrishnan2007@gmail.com

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oming from a family of artists, Ravi Krishnan, it was supposed, would step into his family shoes quite easily. Things proved to work out differently, as the young Ravi preferred to follow his own style when it came to art matters. On leaving home and coming to the capital city, the artist in Ravi matured into a unique makeover and the art that followed was a novel take-off, although it remained rooted to his earlier influences. Excerpts from an interview: What was the concept in art that you set out to portray through your works, after coming to Delhi? For me, the interpretation of my works by viewers was important. For that reason I did not give the paintings a specific title but called them ‘Unknown Journey’. I left it to the viewers to see the paintings as they wanted. I even gave them the choice of turning the painting upside down and seeing it and they could see a different perspective in it. Their reactions and their interpretations were the best assessment of my artistry. The Lexicon Collection

Did galleries in the city like your new approach to art? Of course. I found several galleries taking up my art. Some of them were the Rang Art Gallery, Apparao Gallery, and Image Art Gallery. I found the response at Rang Art Gallery to be the best. It was Kapil, the owner, who was forthcoming and promised to support my creativity, and made his selection of works carefully, and gave me the right direction to move forward with my work, in the city. Is your art restricted to abstract paintings that are open to interpretation? On the contrary, I also do a lot of figurative works. My earlier series was on figurative paintings. Then I had begun to do abstracts and that kept me preoccupied for a while. Of late, I have again returned to figurative works but with a difference. What is this difference that you refer to, in your latest set of figurative works? In these latest works in the figurative series, the figures are full forms while in the earlier works the figures were confined to faces. They are also in pairs. The figures are elongated forms and that was

Unknown journey-III

Kapil’s suggestion that sparked me off. I have also done nudes in the same form. The testing ground for this series was done in Bombay. Then I exhibited the works in Chennai and after that I brought it to Delhi. I find that it is now a strong feeling and an urge within me that prompts me to return back to figurative paintings of this kind. Have you tried to combine the two forms, abstract and figurative, on the same canvas? What was the result of it? Yes, I have done figures with an abstract touch. In them, the background is with textures. The lines are in white and are embossed. I rub the canvas with cloth to bring out the texture of the background. The brush is only used to detail such objects as flowers. The base, of course, is first made with a brush but thereafter, I begin to add on my own inputs. I use threads to create geometric lines, by pulling the thread away after getting the desired effect. As for the results, I must say they are very encouraging, as you can see a great degree of symmetry in my artworks.

Unknown journey-IV & V

What external influences inspire you to paint? As a matter of fact, I don’t need to go outside to gather sources of inspiration. My inspiration comes from a happy state of mind. That emotion motivates me to bring something new on the canvas. Even when I’m sleeping, my mind is at work and I visualise the use of my materials. What is the special treatment that you give your canvases? This special treatment is done with a piece of cloth. This is used for rubbing on the canvas in such a way that the effect created is one that looks like a spray. I used to do the background in colour at first, but then I found that the viewers’ preference was essentially in black, as the embossed faces on this background were in white. So I have stuck to a black or dark background these days. Besides cloth, I also use string, and even kerosene soot to create blurred patches. In the final round, to get a finished and lasting effect, I use an adhesive glue coat also. What is the biggest breakthrough project that you have undertaken? The project that I am currently engaged in is my The Lexicon Collection

Faces

biggest breakthrough so far. It is a series of works for a hotel located in the Bandra Kurla area of Bombay. The focal core of the theme is development and I have selected artworks to go with the theme. As these works are to be placed at various places in the hotel, the works are of varying sizes. I have imagined the concept to go with each of the works on the basis of their placement in the hotel premises and of course, my own creative thoughts. What are the different steps in making a painting? I first visualise the work that I am going to paint and once that is clear, I begin to apply the paint. I use colour profusely at the initial stages of a painting to get the effect I want. I prefer a monochromatic range generally. My favourites are shades of purple, reds, blues, oranges. After that, my technique takes over and the painting proceeds according to my imaginative inputs into it. The final checklist for a piece of art for me is that it should also have a decorative angle because a painting is ultimately meant to grace the home or living space, and must fulfil its role in that capacity. ■ 179

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D A. Fading away B. Feet C. Untitled D. Dream

LOVES TO PAINT THROUGH THE NIGHT An artist with a penchant for beauty.

Sunil Kumar Saini Qualifications: Master’s degree in Fine Art from Lalit Kala Sansthan, Agra – 2005; Bachelor’s degree in Fine Arts from College of Art, Delhi – 2003 Shows: 10 Group Shows, one Camp Show and one Solo Show all over the country. Awards: 2002-03, BFA (Painting), College of Art, New Delhi Project: Worked with Delhi Metro Rail Corporation (DMRC), conceptualization and execution of murals and wall paintings for different Metro Stations, 2002-03 Mob: 9891666448, 9990741505 E mail: sunil251178@yahoo.com sunilartdelhi@gmail.com

unil Kumar Saini is an artist with a penchant for beauty. A keen believer in the English poet John Keats’ idea of ‘a thing of beauty is a joy forever’, Saini has created gripping images of womanhood on his canvases. With his portrayal of womanhood through the choice of a feminine form, Saini has painted both the woman of our times as well as the one who resides in a special corner of his imagination. Influenced by the paintings of Gustav Klimt among others, he has portrayed her in gold colours, mysterious tones and vibrant settings, to give his viewers a glimpse of the flexibility of womanhood, down the ages. How did you get interested in art? I come from a family of artists. My elder siblings are lecturers in the Muzaffarnagar College of Art and my elder brother is a well-known portrait artist. Therefore, when I secured admission in the College of Art, New Delhi, there was great joy and celebration in the family. It also made me realise that I must work hard at this career so as not to disappoint them.

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Reflections

You have spoken of woman as the image of beauty. What sort of beauty are you portraying through this form? The beauty that I speak of is one that is both within the human soul, as well as what one can behold outwardly. The woman summarises it all. Beauty by itself is an abstract concept but when it is expressed through the female form, it is an ethereal form, a transient image, a radiating medley of colours and many other concepts.

What about the backdrop of your paintings? There is a severe geometry in them. Why? The ‘blocks,’ so to speak, in the background, are reflections of the many hurdles or blocks that society places on womanhood. The female form in this jungle of demarcations is both wrapped in clothes and also bares her body. This shows our double standards in society and a form like womanhood speaks out this hypocrisy in clear-cut images.

Which painting according to you is the most expressive work as regards the artistic expression of beauty? I would say that the painting titled ‘Thinking Of’ is the most vibrant expression of the current scenario. In it, the female form is in the forefront of things. But she is not a wispy, shy individual. She wears a modern exterior, with a tattoo decorating her body. This aspect depicts the generation gap that has crept into society. It also stresses our race for external trappings without pondering over the more deep-set aspects of beauty. Inner sense to appreciate beauty has ceased to exist.

How did the architectural touches like doorways, niches and walls, come into the backdrop of your paintings? These accents I think, are a throwback of my student days. I was an avid sketcher when on tours and on my visits to temples in south India, I loved to draw the temple views. Ever since then, they have begun to enter into my art, as symbols of the regimented and controlled sides of our lives. Your colour palette mainly remains within the secondary colour range. Why? For me, colour speaks through its tones. The warmer palette is a depiction of the present times

while the cooler colours are used to depict our deep-set feelings and ideas. In my latest paintings, these two sets of colours appear on the same canvas as a study in contrasts, peeping within the mind through suffused forms reflected in a pool of aquamarine. The thoughts and happenings surrounding our daily lives appear like miniature graphic images in the ochre, or vermilion strips. The female form is submerged within the two extremes, reaching out to touch both sides of this prism of colours. You have used certain images repeatedly in your art. Is there a language behind such a symbolic choice? Yes. The lotus flower, for instance, that often appears on my canvases is the symbol of the serene and steadfast nature of womanhood. It symbolises her capacity to remain in control and unruffled even in the most trying circumstances. Even when the flower is a half-opened bud, the image suggests a flurry of possibilities. Also, the butterfly in the painting is another expressive symbol. It conveys the feelings of joy and beauty that we experience at the sight of this flitting image. It The Lexicon Collection

makes us instinctively reach out towards beauty and though we have no means of controlling it, the butterfly remains unfluttered, despite its fragile form. In some of your paintings there are more than one human form. Do they suggest a relationship? I usually choose to depict a couple to reflect on the sensual aspects of womanhood. The feelings of pleasure and submission to this joyful company of the opposite sex come to the fore. The task of keeping awake all through the night to paint requires discipline and control. Have you consciously worked towards becoming a painter by night? (Smiles): In a way, I have disciplined myself into working through the night. That was during my student days at Delhi. I was part of the group chosen to make installation art at the newly opened Metro stations at Welcome, Seelampur and Shahdara stations. The work was usually done by us through the night in the company of fellow students and under the direction of our college principal. Today, it is a part of my life and my way of ■ being true to my profession. 181

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D A. Success with ‘Gifts of God’ B. Gifts coming from God C. Thinking III D. Music (Pleasure) ‘Gift of God’

A RANGE OF COLOURS An artist working with a purpose.

Mohd. Ather Jafri Qualification: Bachelor of Fine Art (BFA) from Jamia Millia Islamia University (New Delhi). Shows: Group exhibition at Lokayata Art Gallery, Hauz Khas, Delhi, 2008; Lalit Kala Akademi organised by Agnipath for awarded artist, 2008; Lalit Kala Academy, Lucknow 2009; PSK at Laxmi Nagar Delhi 2009; in Bangalore 2009; All India Fine Art & Craft Society (AIFACS) 2010; Lalit Kala Akademi, Rabindra Bhawan, Mandi House, Delhi, 2010; Solo Show at the All India Fine Art & Crafts Society (AIFACS) 2009. Award: by Agnipath Collections: India and abroad Mob: 9873246428 E-mail: artist786_jafri@yahoo.com

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ther Jafri is a young contemporary artist from India who has a different approach to painting. He is bold, fearless, and not afraid to raise his voice on behalf of the suppressed, on the issues of poverty, terrorism the damaging effects of global warming, etc. His paintings are a perception of the reality that prevails in India’s social system. He is such a sensitive human being that the pain of others hurts him and apart from depicting it through his paintings, he renders help to needy people also. He is a god-fearing and religious minded person and his basic theme revolves around the Gifts of God, as he believes that God has sent us on this earth with a specific code of conduct for life. An artist’s work is often a glimpse of the society and the world we live in. Delhi-based Jafri’s canvas proudly exhibits his impressions and feelings. Born in a middle-class family with no artistic background and needing to support his parents, and doing home tuitions to meet his day-to-day needs, Ather had been able to reach this level where his work is appreciated by not only his fellow artists, but also his seniors and galleries. The Lexicon Collection

Making a painting is a silent art but only a gifted artist can give voice to it. Ather belongs to this category of artists. While transferring his thoughts to a blank canvas, he speaks with his paintings and when his painting starts responding, he feels his goal is accomplished. A recipient of the all India level ‘AGNIPATH’ award, every painting of his has an intensity and sensitivity simply because he can himself feel them. Excerpts from an interview: When did you become interested in art? Whatever thought would occur in my mind would be expressed in my drawings. I was not good at academics and instead of being in the classroom I would spend my time in the art room. It was like a passion for me and I would draw wherever I saw a blank space, whether it was a sheet of paper or the walls of my house. Even when I was a child I could remain hungry and thirsty for hours if I had a paint brush, colours and a canvas with me. Sometimes, when I was painting sitting in the terrace I continued working unmindful of the scorching heat. If I did not find space, I would work in the kitchen at night for a number of years.

Thinking

What was your parent’s reaction towards your passion for art? I belong to a very simple, middle-class family. My father never wanted me to become an artist. Instead wanted me to become an IT professional. I was more interested in creative work like painting, etc. Thanks to my elder brother who encouraged me, convinced my father till date he supported me at every step. He is my guiding force. How would you define your style of painting? My present style is experimental and objectbased and I use different textures. How has your work evolved over the years from where you began? It is inevitable to evolve over the years because you learn with practice and experience. Previously I used to do the figurative with experimental style. While studying it is imperative to make figurative paintings, but after some time gradually your style changes. Any particular colour you like to use most? It is yellow ochre and burnt sienna.

Happiness with gifts from God

What subject do you generally depict in your paintings? My subject or theme revolves around God. The Almighty has created this universe keeping in mind a specific aim. Each and every creation born on this earth also comes with a specific purpose in life. I am similarly born with a definite purpose in this life, which I presume is to do good for the society, to eradicate the ills prevailing in this universe, so that its entire people can live with happiness and equality. What are your preferred mediums? Oil and water on canvas and sheet, pen work on sheets. We can see unique textures in your paintings. Can you explain about the textures you use? I like to give textures. The texture which I use in my paintings is not merely a texture but it is something which relates to my inner feelings. You work for art’s sake or commercially? For art’s sake. I don’t create as per market demand. I live with my own originality. I wanted to make my own identity as I feel that one must do The Lexicon Collection

Gift of God, Home

what one’s heart says and one will succeed some day. What is art for you? For me, art is first of all self-expression. We all ask vital questions in our daily lives and answer it in different ways. As a painter I feel the need to get out of the system and the elements that disturb me in my life. Who has been the main influence on your art? Artists like Raja Ravi Verma and Aparna Kaur, have inspired me a lot. They are self-taught artists and struggled to reach their level. What other interests do you have besides painting? I have an interest in business. Apart from that I am into filmmaking and camera handling is my passion and also has an interest in the direction line. What is your greatest ambition as an artist? To contribute to the society through my paintings and you will find a message in my every painting. I am associated with NGOs and one of my series was based on the ‘Innocent Orphan’. ■ 183

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D A. Sadness-II B. Sadness-III C. Mother and child D. Untitled-V

FACING UP TO CHALLENGES Emotions reflected in art.

Masarrat Khan Qualifications: B.F.A & M.F.A. in Ist Div., Jamia Millia Islamia, New Delhi (2000-2004). Presently working as an artist, Department of Museology, (University Museum Science and Culture), Aligarh Muslim University, Aligarh. Exhibitions and Participation: Participated in 20 exhibitions and competitions in India. Collections: Aligarh Muslim University, Aligarh; Tipu Sultan Research Institute and Museum, Mysore; Majmua The Art Gallery, Karachi, Pakistan. Scholarships: Merit Scholarship in Jamia Millia Islamia (1999-2000); Merit Scholarship in Jamia Millia Islamia (2000-2001) Mob: 9718897885 E-mail: masarrat25sep@hotmail.com

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asarrat Khan has managed to successfully carve his niche in the art world through his sincerity and willingness to persevere with courageous fortitude against all the problems which beset his young life. Although his inner longings clashed with the harsh realities of life, he refused to surrender his dreams. He survived not by escaping from reality, but by simply embracing it. Even when life was difficult, under impoverished family circumstances and the disapproval and derision of society standing in the way of his art, Masarrat met the challenge with determination. In fact, many may feel that the pain he suffered only served to bring a rare sensitivity to his work. It may have depleted his body but it strengthened his spirit...and his art, enormously. To quote M G Kidwai, who was director of the Department of Fine Arts and Art Education, Jamia Millia Islamia, “Masarrat’s life, symbolising the evolution of an artist struggling to make peace with his reality has been what distinguished him from the rest among his cohorts... The Lexicon Collection

Sadia

...his work and he stood silently to complement and acknowledge each other’s pain and joy, saving the spectator any attempts to draw conventional relations between the two. His work...showcases the fatefully picked random moments when it became unbearable for him to restrain his emotions.” With so many achievements under his belt even at this young age, there is little doubt that Masarrat Khan can look forward to much more fame and respect in the years to come. Excerpts from an interview: Please tell us about your family background. I come from a very conservative and traditional family. My father was Railway employee. None among us had shown any artistic leanings. This made it difficult for my people to understand my passion. I studied at the Railway School, Bareilly and later did my intermediate in Muradabad. Then I joined the Jamia Millia Islamia for my B.F.A. and M.F.A. Did your family support you? Nobody was able to understand my love for Art.

In fact, I was derided for wasting my time and energy in useless activity. I had to struggle a lot to study art in Delhi’s Jamia Millia Islamia where I would attend classes in the day and spend the night earning money by making toys in Karol Bagh....washing, grinding, painting...Often, exhausted by work, I would fall asleep using cardboards as a mattress. When dawn broke, I would return to my room in Okhla and get ready to go to the Art Department. It was not a very easy time for me but I was determined to learn and considered no sacrifice was too great to achieve my dream. My mother, worried over my well-being, saved money and sent it to me. I will always feel indebted to her. Without her help and blessings, I would never have been able to finish my course. Now, I am financially secure with a government job, but she is no more with us! Who else inspired you in your pursuit of art? I am grateful for the support given to me by my cousin, Sayed Arif Ali, who worked in Jamia Millia. He was the person who assisted me in applying to Jamia Millia for my B.F.A. and M.F.A. And then, I was given much guidance and inspiration by the Head

Chess

of the Art Department, M G Kidwai. Both of them advised me to persevere, earn a good reputation and bring honour to the institution. So your feelings and emotions are translated into paintings? Yes, although it may not be done intentionally, this is definitely the case. Others, significantly art critics, are able to discern this in my paintings. For instance, according to Mr M G Kidwai, my recent works, especially The Last Journey and Sadness are the aftermath of my being close to a death encounter during my prolonged illness and hospitalisation. My use of simple human figures and sketches in the former painting symbolises the emptiness and austerity of life as one approaches death. The various figures are enveloped in an environment of grief, possibly the dense mood that prevails after a funeral...helplessness and resignation as can be interpreted by the flaccid figures. How would you describe your art style? Semi-realistic. I work with oils, acrylic and water colours. The Lexicon Collection

The artists you admire? I respect M F Husain...for he too struggled against all odds to excel in art and gain his present reputation. Like me, he too came from a traditional and impoverished background....and it is extremely laudable that even in his 90s, he has such enthusiasm and interest for art and life. I admire the works of Raphael and Picasso. Is painting your full-time occupation? I am employed as a senior art technician in the Department of Museology in the Aligarh Muslim University. I also dabble in photography and applied art. I have worked as an illustrator in a publishing house, held painting classes, painted murals and have also done work as a calligrapher. Can art be self-taught? This is possible but it is always better to have a guru or a teacher to help one understand the techniques and methodology. All the same, the talent is inborn and, without this, it is all in vain. Again, one should be prepared to put in a lot of ■ work to succeed as an artist. 185

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A. Power blooming B. Apu durga C. Whose eggs D. New life

THE GLOW OF ART An artist whose works are inspired by Satyajit Ray.

Bhaskar Singha Qualifications: B.A. and B.F.A., Kolkata University Shows: 19 Group shows and 13 Solo shows in the country and abroad. Upcoming exhibitions: India Habitat Centre, Delhi- 15 to 21 December-2010, Musician Art Gallery, Mambai-August 2011, Austria, Vienna in April 2011 and Prakrit Art, Chennai-August 2011. Awards: Camlin Foundation Award 2000 Bhiku Ram Jain Foundation Award 2010, Art Mall, Delhi . Collections: India and abroad. Mob: 09811686338, Ph: 011-27932568 E-mail: bhaskarsingha@gmail.com Website: www.bhaskarsingha.com

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e is going to complete the 20th year of his journey in the art profession, that had started from the Tagore Art Gallery, Calcutta and will now come to the India Habitat Centre, New Delhi later this year. It’s a long journey of artistic thoughts interwoven with ups and downs. Sometimes the turns and twists on this journey have been bright and at times created relaxed expressions emanating from his works. Hardship couldn’t down the spirit and in return, the brighter side came out, sailing through the odds and obstructions. Now, Bhaskar Singha feels calm; and reminisces over his creation, made in the course of the last two decades. Most of Bhaskar’s works have their sources of energy contained within themselves and that itself inspires him. He believes everyone gets energy about something but cannot always trace back to the cause of the anger and he depicts his personal source in an oval form in his paintings. Another characteristic of his works is the presence of air blowing in, and that air can be seen everywhere and filling in life into his subjects, characters and The Lexicon Collection

beholders on the canvas. However there is a conclusion to the viewing process.. So, sadness remains no longer sad Born in a Bengali family, he graduated in Fine Arts from Kolkata University. Bhaskar went from deep to deeper studies in painting while doing exhibitions across the country and getting a feedback from there. He feels experienced because perseverance in doing work has made him experienced. Now Bhaskar is capable enough to give a ride to the seniors’ imagination and he is doing so. Teaching students to refine their art, is what Bhaskar has made his focus and during this year, he was awarded the Bhiku Ram Jain Foundation Award in New Delhi, for a work in the acrylic medium. But he loves more doing depictions in water colour and remembers his best show in this medium at the Academy of Fine Arts, Calcutta, in 1995. Living with twin daughters and wife Tapti Singha—teaching children art. Bhaskar expresses that he gets great support from Tapti as a mentor as well as an art companion. Excerpts from n interview:

In dreams

How do you feel being in art, especially painting field for almost 20 years? I feel good. I can’t say exactly how nearly 20 years have gone but certainly I didn’t just spend but pass with lot of colours, remembrances and of course experience whether it’s nice or pinching but all are with nice purpose. My first exhibition was a little one at Calcutta airport but my exhibitions certainly are in bigger space and among bigger number of people. Your one sort of paintings is based on Satyajit Ray’s movies. What do you have to say about it? Satyajit Ray is the film-maker whose movies rooted art seeds in my imagination. I have grown up by watching Ray’s movies in theatres. He is like a god for me in the art field. So I felt forced to give a tribute to Ray. And then I made some series extracted from movies—Pather Panchali, Apur Sansar, Charulata, Aparajito and others. Actually I liked a lot to watch this legend’s movies again and again and still see them whenever I like to. So in the early period of my life Satyajit Sir had taken a part of my tender heart. And; later I depicted the characters from the

Space

movies on canvas. Some characters like Apu and Durga have taken a space again and again on my canvases. What’s the concept behind a circle and wavy texture in a large number of your paintings? I symbolise the circle as a source of power and energy that is located in all of us. Some of us can locate it while others cannot but it is with all. It may be in different forms, like in bodily form but it is for everyone’s to work or keep working and moving on the path of life. Now, when we talk about texture, for me, it should be the platform of inspirations on which characters move. So I chose wind or blowing air that breathes life and declares man to be a living body. So power and life are the basics of my paintings and I tried to put both as the most essential part of life. What is your plan for the coming five years? Firstly I have to work on the plan I had made 20 years ago—that is doing work and work by taking a brush in my hand. However, I have planned to realise the works of Richard Attenbourough, Steven The Lexicon Collection

Untitled

Spielberg on canvas. Gandhi by Attenbourough and Schindler’s List by Speilberg move in my mind often. So I have decided to depict them with the help of paint and brush. Don’t you feel afraid of critics? No. All of us face criticism while performing a duty. It is well said that the intensity blows received is directly proportionate to the task. I believe in working and it should be a good work finally. Idea and thought can come from anywhere such as natural sight or a movie. What matters most is the presentation of that view on canvas. What else do you do? I have a great passion for photography. I want to roam around to take different snaps at different places and situations. A large or important thing attracts me. Another passion is sculpture. What about your coming exhibition? The coming exhibition is a retrospective collection since 1990 and it will go on display at the India Habitat Centre, New Delhi, from 15th to 21st ■ December of this year. 187

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D A. Rendezvous B. Bridget smoking C. The balancing act D. Thinker

IMAGES OF POETIC PASSION Art that assumes comprehensible realism.

Devajyoti Ray Born in 1974, Devajyoti Ray had begun his career as an artist in 1993, with his first show in Kolkata, under the tutelage of veteran artist Balraj Panesar. It was a show of collages which had become immensely successful, but Ray had soon drifted to other forms of art and in the course of his long journey as an artist, Ray had experimented with many styles and worked in many media, like water colour, oil, gouache, conte and even ceramic grains. In 2003, Ray introduced a new genre of art called ‘Pseudo-realism’ which soon became very popular and brought Ray international recognition. Pseudo-realism is an unique art genre, which approaches reality via abstraction, in colour schemes and geometric shapes. Mob: 09449045100 Website: www.devajyotiray.com

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evajyoti Ray is today one of the youngest masters of Indian art. In fact he has often been heralded as the most promising artist of the new generation and in the days to come he is likely to emerge as the best of his time. Ray’s works are independent of the influence of the regular art school styles. And in fact so independent is his style that critics have called his art a

new genre. Yet, in totality, Ray’s paintings assume a comprehensible realism. In other words, while his paintings have the appeal of realism, they are not realistic in composition. Ray has travelled all over his country and has learnt art from various sources, artists and folk craftsmen. His style is thus not classified among the regular Indian schools. Devajyoti Ray is the new name in the horizon of Indian art. He is young and he represents the modern-day Indian youth and he belongs to a generation that has reaped the maximum benefits from the liberalisation of the Indian economy, that took place in the early 1990s. Excerpts from an interview: The Lexicon Collection

You do not come from any art school. Did it ever affect you as an artist? It did slightly. I did not have the luxury of learning from traditional art schools, where a lot of things are taught under one roof. So I had to pick up things from various artists. But while this was a more difficult process, it also gave me the freedom of choice and I learnt anything and everything that came my way. Art schools are good, but they have a major disadvantage. I have seen artists coming out of their schools with major mental blocks. They are often very closed mentally. Without an art school baggage, we have an advantage. We are open to newer influences, newer isms, ideas and practices. You see some of the best artists in India like Tagore, Jamini Roy, and Hussain, had never been to regular art schools. It is all because of the stifling situation that prevails in most art schools, that freedom loving artists hate. Your paintings depict pseudo-realism. How did you come up with this style? It happened truly speaking, quite accidentally. I had been trying to do something new. It is that thing which every artist aims at. I wanted to

Brigette thinking

develop a language which would allow me the freedom to use colours of my choice, and also allow me to tackle subjects of my interest. I had once read an article written by Ganesh Pyne wherein he had told how his childhood friend Bikash Bhattacharya wanted to create something for the people, something that would be loved by people. Reading this article, it appeared to me that this should be the aim of my art too. So one of my aims was to evolve a language which would allow me to make paintings which would be aesthetically soothing to the eyes of the commoner; something to which not only an art loving person but also a layman will be able to connect. But the question is how to paint in such a way as to satisfy the needs of the aesthetic pleasure of a common man and the needs of intellectual stimulation for a more accomplished man in art. Your subjects express happiness, colour and joy. But at times we also see images of beggars, poor, orphaned children. Why these subjects? I do not see subjects as sad or happy. To me the sadness or the happiness of an artwork is no criterion for judging a work. I choose subjects on

Introspection

the basis of what affects me. And I want that my viewers should be able to understand what I have felt. For an artwork to be successful, what is most needed is that the work should be able to connect with the people. Your figures are faceless. Does it signify something? They are faceless because the scenes that I depict are everyday scenes, which can happen with anybody. But the faceless figures are also a part of my genre, wherein I adopt a minimalist approach. To be precise an attempt is made to say the maximum by depicting the minimum. Where do you see Indian art in the context of international art? How far are the Indian artists in tune with what is happening elsewhere? Indian art today is very varied, and quite in tune with what is happening elsewhere. What we do not have however is a system of independent assessment and evaluation of artworks. Most galleries in India have no vision and they are run just like shops where things are sold according to their demand. These galleries keep art works of only The Lexicon Collection

such artists who are selling well and they even discourage good artists from producing good works. What is your medium and technique of work? My paintings are predominantly in acrylic and oil. My techniques are largely self-developed and I prefer using flat colours, offbeat shapes and yet at the end, the paintings look realistic and comprehensible. I had also worked in water colours and mixed media and have produced many new forms of experimental art. Your have attained considerable commercial success. Does it make things easier for you now? Yes it does. It gives me a little more visibility now. That is all. But commercial success in art is a short-term affair. People are now buying my pseudo-realist works, because they find it new, different. But I can foresee a time when something new will come again and people will find my works passé. This is bound to happen and this is good. Only this can make artists realise the need to do newer things and experiment. Commercial success is required but it should not go to one’s head. ■ 189

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A. Light behind the tree B. Yellow path C. Blue with green D. Horizon

THE EVOLUTION OF ART What an artist creates, comes from within.

Sayed Arif Ali Born on 4th December 1972, Muradabad, U.P. Qualification: M.F.A. (Painting) 1997, Jamia Millia Islamia Working as a Lecturer in Jamia Sr. Sec. School Awards: Distt., Agriculture, Industrial and Cultural Award in 1988; Distt., Agriculture, Industrial and Cultural Award in 1994; Ist Prize in art competition organised by N.S.S.; Participated in Yuva Mahotsava in 1994; An Art workshop with eminent artists and school students in 2002 Mob: 9868855471 E-mail: ainnieali@gmail.com

ayed Arif Ali appears as an unassuming and modest personality although he has gained a considerable reputation for his artworks. Despite his simple family background, he has managed to pursue his passion for art with determination and hard work. It was in the prestigious Jamia Millia Islamia of Delhi that he honed his inherent skills under the tutelage of seasoned teachers. He admits that it was their encouragement which spurred him on to success. At present, he is working as a lecturer in Art in the Senior Secondary School in Jamia Millia. Excerpts from an interview: Please tell us something about your background. I belong to Muradabad in Uttar Pradesh. I was born in 1972. There are no artists in my family. I am the first one to take up art as a profession. I was a Science student in school and I did my BSc degree in Biology. It was only after this that I was able to study Art( Painting) in the Jamia Millia Islamia where I procured my BFA and MFA degrees. From my childhood, I was deeply interested in

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art. I had friends who painted sign boards and film posters. I joined them in the summer vacation to try out my hand at these occupations. Who has influenced you and inspired you to draw and paint? Some of my teachers recognised my talent and encouraged me considerably. In school, Ravikaran Sharma enthused me to pursue art and in Jamia, of course, there were many who inspired me. Prominent among these is Paramjit. Which artists do you admire? Several of them, but I would like to mention Bhattacharya and Manjit Bawa. It is very enlightening to study the works of renowned artists, as that can teach us a lot about style and technique. Nevertheless, each painter is singularly different from the other, for what he creates, comes from within. What medium do you employ for your paintings? I normally use oil paints and acrylic. Sometimes, I use mixed media as well.

Blue in gold

What emotions do you feel when a painting is sold and leaves your hand? There is a certain amount of sorrow, but then I know that paintings are meant to give pleasure to others. Where is the point in storing your paintings away? Art needs appreciation and cannot be practised in solitude. I give away paintings to my friends as well, and I also take orders to make paintings. What advice would you give to someone who wishes to become an artist? Not many youngsters choose art as a main subject of study, but this is quite all right. What is important is that whatever discipline they choose, they must aspire to be perfect in it. Nothing is big or small. One must become an expert in whatever one wants to be. When do you devote time to your painting? I paint at home and mostly at nights when I am free from distractions. Do you feel satisfied with your work? No real artist can claim that he is fully satisfied,

Cloud

and that he has learnt everything! It is such a vast field and there is so much to learn. There never can come a time when one feels that he has become an expert. One is constantly learning, searching for methods to better one’s work.

painting, for it will be difficult and tiresome for him. I got my B.Sc degree to appease my family who were not sure whether I could make a living with art alone. It is only after my graduation that I joined the Jamia Millia Islamia.

Why do you paint? To be frank, one usually paints for money unless the person is very affluent and he paints only as a pleasurable pastime. For a lover of art, the very act of painting brings pleasure. And for a creative person, who has several ideas flowing through his head, painting is a method of bringing it all out on the canvas.

How do you judge your painting? I invite my friends, family members and other artists to view a freshly made painting and ask them to comment on it. I consider all their suggestions seriously and make changes whenever I think this is necessary.

When did you first decide that you would like to be an artist? In my childhood days, I watched my grandfather who painted for amusement. He used poster colours and other media too to make film boards. He used his imagination a lot. I think that was the time when my desire to become an artist was born. But all this could have happened only because I had a deep interest in art. Without this, no one would like to take up The Lexicon Collection

What is your opinion on the idea of ‘public art’, where sculptures, for instance are installed in parks and road intersections? It is a very good thing because the general public can view it and appreciate it. After all, how many people go to art exhibitions and galleries? Art should not be limited to only the rich and art lovers. The common man should also get an opportunity to view it. These days, people have learnt to value art and so there is little risk of vandalism even when ■ valuable pieces are in the open. 191

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Search for new habitat D A. Aakrosh-I B. Aakrosh-II C. Bell D. The sun - still undevided - let’s devide it

ART AS A CAUSE An artist who has ably adjusted his profession with art.

Swatantra Qualifications: Five Year Diploma in Painting from Rajasthan School of Arts, Jaipur; B.A. (Painting) from M.M.H. College, Ghaziabad, U. P. Shows: Many Group shows, three Duo shows, six Solo shows and Camp shows in India and abroad Collections: India and many Private collectors Participations: Participated in many art exhibitions in India. Awards: All Rajasthan Student Award Lalit Kala Akademi Rajasthan - 1986,1987; All India Merit Award from, The Creators, Ambala - 1987; All India award from Indian Academy of Fine Arts, Amritsar - 2010 and many more... Ph: +91- 11-42333841 Mobile : +91-9810003667 E-mail: swatantra1962@gmail.com

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How would you describe the process to a viewer at an exhibition? The technique that I have developed is with the use of the spatula. I first apply primary colours. These colours are without any mixing or blending of colours. Their primary character is left intact. I then begin to create thin layers using the edge of the spatula. I place a streak of primary colour on the spatula and then place that edge on the paper. The spatula impression is then built up meticulously, one line following the next, till the form expresses the thought I have in mind.

What is it that makes your art stand out among the works of other artists? Perhaps it is my technique of painting that is special to me. Although I had been taught all the conventional techniques of brush and other mediums, after constant practice I developed an independent style of making art and have continued to express my artistic ideas through this technique.

What are the common themes that you explore through your paintings? I like to paint the abstract idea of the lost childhood that we adults have left behind in the race to grow up. Childhood is a time of small happinesses in our life and even when we are grown up, we still cherish those childhood memories and yet in the race for existence, as adults, we have all but forgotten the joys that childhood gave us. So my art is a way of recalling not the incidents but that undistilled happiness today.

he name ‘Swatantra’ aptly includes all that is creative in the work of artist Kamal Kishore Swatantra. Right from his student days at the Rajasthan Art College, he stood out from among the other students in his group because of his questioning and inquisitive approach to the entire academic system governing the study of Fine Art. Being in the habit of approaching his teachers for answers to his questions and his independent attitude towards work had led his teachers to give him the title of ‘Swatantra’. Thus when he began to exhibit his works before the art fraternity, the nomenclature Swatantra seemed the right ‘letter of introduction’ for him. Excerpts from an interview:

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Global warming

It sounds like a very tedious process because the lines are very minute and closely placed. On the contrary, these works take as much time to complete as a conventional painting would take. This is because as I place the fine streak or line on the paper, something unconsciously within me begins to stir, and then it urges me to go on to making the second line and then the third and so on…Finally the painting is done. How have you expressed this happiness in your paintings? I have painted the thoughts of childhood happiness in the form of a series. I have used forms such as balloons, toy cars and objects of one’s childhood to represent and recall those days. By seeing a balloon vendor at a street corner, or near a red light, even now, as adults our minds rush back to the sense of joy that such objects evoked in our childhoods and the world seems to look different for that momentary while. What is the colour palette used to depict childhood associative memories? Again, I have used only the primary colours to

Save water - save life

paint the car or show the groups of children or the balloons bobbing in the air. The outlines of these objects are defined by my spatula technique so that viewers seeing them for a while get the idea that they are mobile and will move out of the canvas. What are the other themes that you have served through your spatula and colours? Besides childhood joys another of my painting series is based on global warming. I have used a symbolic globe form to represent our earth. One half of the form is left a dark black semi-circle. On the other side there is a riot of colours in fine streaks. This half represents the earth trying to survive against all odds. Besides the symbolic globe are there other forms to express your concerns about global warming? Yes, I have also used the earth within a galaxy. This is to indicate that our earth is just one and with the destruction of this planet we need to pioneer research into the topic further. We must recall that besides our earth there are several galaxies out there and there might be other The Lexicon Collection

Emission layer

inhabitants out there. Besides, man must search a new habitat before this earth becomes our deaths. Besides such public issues, have you painted subjects that are associated with day-to-day living? One of my favourite paintings is the one titled ‘Aakrosh’. It examines the human failing anger, that surfaces whenever we are faced with frustration. The work is in abstract form and depicts the common man’s plight in a modern society. He is the victim of depression, oppression, helplessness, and these emotions are shown through a series of boxes in primary colours. You have a profession that is different from art. How do you combine the twin interests? I first started my career as an artist who had just qualified from the Rajasthan School of Art. As my work grew and I became involved in it, the artwork was almost forgotten. Then my daughter came into the picture and began to coax me to get back to my painting. Before long, I was fully immersed in it and today, I am as engaged in art as I am in business. In the end it is art that pulled me back from total ■ creative extinction. 193

A. Hope B. Layer C. My friend

A PASSIONATE STRIVER From carpentry to artistry.

Dilawar Khan Qualifications: B.F.A from College of Art , New Delhi (1997), Diploma in painting and batik from Bharatiya Vidya Bhawan, New Delhi (1991) Course in conservation and restoration of art works from National Museum (incomplete). Shows: 24 Group shows and two Solo shows in India and abroad. Awards: First Prize of Yuva Mahotsava for Water Colour 1996 organised by SKP, New Delhi Second prize in On-the-Spot painting competition, 2003, organised by SKP, New Delhi Sculpture award by AIFACS, 2009, New Delhi. Collections: France , South Africa and many private collections in India . Mob:9871436665, Email: artbydilawar@rediffmail.com

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ilawar Khan’s story is a story of grit, courage and perseverance pitted against many odds. Today, he is an artist of repute with several prestigious awards and group and solo shows to his credit. All this has not come on a platter. It is his great passion for art which helped him rise above formidable circumstances. Born in Bareilly in Uttar Pradesh, Dilawar Khan moved with his family to Delhi when he was a yearand-a-half old. In fact, he feels that this city shaped him. His father was a humble carpenter who could not fathom his son’s deep love for drawing and painting. Money was hard to come by, and all that the older man wanted was that the boy should learn to make a living but the latter saw the world through different eyes: the eyes of an artist. The boy had to endure beatings too for ‘wasting his time’, instead of attending to the family occupation of carpentry. His teachers in school, however, recognised his talent, especially since he was often the only child in school to bring back prizes from competitions. The turning point came when in 1994, one of The Lexicon Collection

Hope

Dilawar’s paintings was sold for a princely sum of Rs 1,500, much to the surprise of the father whose monthly earnings were less than that! Thenceforth, the family slowly began to treat him with more respect and consideration. Unassuming and down-to-earth, Dilawar Khan often recalls the frugal life he led in his youth, when it was so very difficult to procure paints and paper to indulge his passion. Now, times are good, and he can quite well understand his father’s feelings and is grateful to his deceased parent for his care and concern. Dilawar is married with two children. His wife, under his tutelage, has started to dabble in art too. Excerpts from the interview: Are there artists in your family? From where did you inherit your talent in painting and sculpting? There was no one in my family who had anything to do with art. My father was a carpenter, and he wanted me to learn his trade, but all that I could think of was trying out my ideas with paints and paper. Since I did not have money to indulge in my interest, I would draw and paint on any scraps of paper I could find...even the cartridge paper packing of toilet soaps!

Did you get encouragement from your family to pursue your passion? Not in the beginning. I got beatings from my father often for he wasn’t able to understand my longing to paint...to create things of beauty on paper and canvas. Once, when I was given 10 rupees to buy a book, I could not resist the temptation to buy paints with the money. I had to face the music for that! But later, when my paintings got appreciated, my family became more tolerant and let me follow my inclination. Where did you get your formal education in art? I studied in a government school in Delhi, and later, I was fortunate to get admission in the Delhi College of Art from where I got my BFA degree. Later I did the course on conservation and restoration of art works in the National Museum although I could not complete it due to financial constraints. Who is your mentor? My art teacher Sri Om Pal Sansanwal of Garhi is my mentor and my guru. I owe him a lot. I am always grateful for all that he has taught me.

From life

Mystery

Red and golden thoughts

Tell us something about your works. I work both with oils and acrylic, but my favourite medium is oil. I enjoy painting figures. I do a lot of sculpture too using wood, metal and stone. Here, wood is my favourite. I ‘understand’ wood very well because with my carpenter’s background I am very comfortable and familiar with it. For instance, I know all about the different kinds of woods, and how these behave and react to paints, chiselling, the fixing of gold leaf, etc.

painting occupies me for at least two months. Smaller works take less time. Usually, I do two paintings at a time...I work on one while the other is left to dry.

Is art your only occupation? No. I am an art teacher in a government school. I am able to paint and sculpt only in my free time. In fact, most of the time, I paint in the night between 10 pm and 2 am when I am left undisturbed by my two small children! I do my painting at home but my sculptures have to be done in Mehrauli where I have a small studio. I can work there without bothering neighbours with the din my work sometimes creates!

In your opinion, can art be taught to anyone? Of course, art can be taught...but only the technical part of it. This can help anyone paint a picture by following certain rules. Nevertheless, unless the painter has creativity, the work will lack soul. Creativity is very important in a good piece of art. Without it, the work cannot really be called art.

How long does it take you to complete a painting? It naturally depends on the size. A 5 ft by 10 ft The Lexicon Collection

Is every painter also a sculptor? Most of the time, yes, this is true. After all, art comes in many forms. Often, the painter is tempted to try his hand at sculpting too, since he has the creative instinct in him.

Do you have a goal you aspire for? Yes, of course. I want more recognition and fame. I want my art to become better and better ...to gain respect and admiration. After all, is this not what every artist wants? ■ 195

B C

Sardha_the desire

Ira_the desire

Kadambari_the desire

Prajana_the desire

D A. Veenavani _ the desire B. Vagishwari _ the desire C. Gyanadha _ the desire D. Bharati _ the desire

AUTHENTIC ART An artist whose colours radiate positive energy.

Priyanka Sharma Qualification: B.F.A. (Painting – 4 years) from Indira Kala Sangit Vishwavidyalaya, Khairagarh(C.G.). First Division. Exhibitions: Annual Show at Dhoomimal Art Gallery Group Show at A.I.F.A.C.S. in 2007, 2009; PRISM at Chittaranjan Park, Delhi; Timeless Treasure at Open Palm Court, Indian Habitat Centre, Delhi; Enigma at A.I.F.A.C.S. in 2008, Music of Moods at Creative Art Gallery, SRAJANA at EPI Centre; Lalit Kala Akademi, New Delhi , 2010 Solo show at Lokayata Art Gallery in 2009. Mob: 09213987013 E-mail: priyanka_artist86@yahoo.in ps4.dec@gmail.com

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painting is bestowed with applause when it transmits an inspiring message for all and simultaneously soothes our inner sense and psyche. Great art is an honour that holds various features and degrees of perfection, but the most important element of art is one that is not confined to a specific period and the burning desire, dedication and honesty associated with it leaves an everlasting impression on the softer side of mankind. Priyanka Sharma began her journey of art with this thought in mind and continued to persist for a long to achieve that goal of timelessness. Seeing her works today, one simply sees subtle brilliancy emanating. Most artists get artistic their artistic inclinations from a natural bent of mind. Priyanka is no exception. The instinctive inclination towards art was already in her and to traverse within the statutes of time she is equipped with formal training in the field. However, her art works are exclusive. Priyanka’s recent series is on Tree of Desires, has an abundance of flowers. Using this symbolic motif The Lexicon Collection

she talks only about constructive desires that are nice for all and never inflicts pain on others. With this series the artist sees the constructive persona of the goddess Saraswati — the very embodiment of art in Indian culture and traditions. Priyanka carves various images through geometrical impressions of the goddess. She tries to chalk out paths to fulfill her desires inspired by the goddess Saraswati. The noted art critic, Keshav Malik comments on Priyanka’s works saying, “Like all attempts, at authentic art, Priyanka’s too would seem lifted out of the daily circumstances to the level where there is no clash of conflict and to reach that state. But artists better not be complacent, and rather be selfcritical of their own works. In that sense, Priyanka has still a load of hard, backbreaking tasks to do with so that a still steeper gradient is attained.” Excerpts from an interview: More and more youngsters are choosing art as a profession. Is this a natural outcome or just due to a boom in the contemporary art field of India? For me, it’s the great taste of art that I acquired in the course of a long period of work. And I think

Mahavidya_the desire

it’s a natural bent towards painting, sculpture, drawing or multimedia presentations that attracts a number of youngsters to choose it as a passion initially, and later as a profession. Most of us do well in art at a tender age and in that time financial factors are out of our ambit of consideration. What about your sort of works? I do semi-abstract paintings and sculptures and love greatly to apply oil colours on canvas. I feel deep happiness in applying colours that radiate positive energy. I don’t apply colours embodying destructive thoughts, so a negative atmosphere is shunned through my work environment. I do murals also but these days I am focusing mainly on painting. What about the series titled Trees of Desire? How do you cultivate it by depicting the goddess? We all have some desires of self-fulfillment and work towards attaining it. And one has several desires. Of them, some get sorted out; some do not. In this series I focus on constructive aspirations that are not only decent for the subject but for the entire universe. To represent constructive desires into a

body I have chosen Maa Saraswati as a perfect symbol. I feel that by taking the Maa Saraswati image as the source of my imagery, I am executing positive works for a good purpose and that which is always nice to everyone. After all, human existence is maintained only by constructive purposes and deeds. How do you balance the talent factor with that of using technological inclusions in art and painting? Technologies come, disappear and change but my efforts to explore my talent with the paint and brush always continues. New technologies are only guidelines for me to improve and give a better output in this field. The saying old is gold comes true in art and painting. The older a painting gets, the more it becomes a precious object. For me, old technologies are the base and provide the contemporary artist the basis of understanding what is regarded as extraordinary work. What changes are you coming up with, in your latest series of works? No changes in the present time plan. I am The Lexicon Collection

simply working on conventional techniques such as oil colours on canvas and using brushes in my own way. So, presently no plan is prepared to change my way of putting colours. But, as time matures everyone, there may be a change when time puts an alternative impression on me in my ongoing journey of art. The environmental factor, I believe, also changes one. In my case so far, it has only helped to polish my technique but the theme has remained the same. It’s a part of my life. What is art for you? For me, art is life. It is like an all-inclusive truth. Where do you aspire to see yourself after 10 years? In the same field—art, because I am here working and will continue to work in this field. I am not fully satisfied with results and won’t be after 10 years also. But the one front I am sure about is that after a course of time I will behaving a greater vision in art and a substantial body of work circulating within the art fraternity. I believe in ■ working with a constructive set of purposes. 197

B C

D A. Truth with beauty B. Purity with beauty C. Purity with truth D. Motherhood

THREE-CORNERED CANVASES The artist’s three-edged paintings signify the meeting points of her three concerns.

Kalpana Mohanty Rai Qualifications: 1988 – BFA (gold medalist) from Faculty of Visual Arts, BHU, Varanasi, under Prof. Dilip Dasgupta, MFA (1999) from College of Art, New Delhi. Shows: Many Group shows, Solo shows and Camp shows all over the country. Awards: Many State awards, Scholarship awards, Talent awards and Art exhibition awards. Collections: USA ( Los Angeles ), Germany, Australia, Japan, several other institutions and hotels. Mob: 9971103447 E-mail: kalpana.mohanty.art@gmail.com www.kalpanamohantyrai.com

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alpana Mohanty Rai is an artist with a long saga of artistic linkages that are chartered into a volume of paintings. Thus standing in her studio, surrounded by her creations, the viewer is privy to more than a spread of her artistry. There is also the under layer of emotions, thought processes, life’s concerns, motherhood, Nature and more, to be learnt from viewing one canvas at a time. Excerpts from an interview:

In your series of triangular paintings, there is a haunting female image at the centre of the painting. Why? The triangular paintings are chosen with a purpose. The three edges of the paintings signify the meeting points of my three concerns as an artist and human being. The meeting points are the merging of truth with beauty at one point. Similarly, at the next point it is the meeting of beauty with purity. On the third side, it is the meeting place of purity with truth, making it come full circle into a seamless and holistic understanding of my principles of life. The Lexicon Collection

What are the symbols you use to convey your deep philosophical thoughts in your triangular paintings? In these three-cornered canvases I always have two constants–a woman in the foreground and the presence of dragonflies in some spots of the painting. The central figure of the woman is a reflection of peaceful inner feelings. The dragonfly, as you might have guessed, is the voice of my soul, yearning to remain free and without any constraints. It is an expression of the child residing somewhere within me that never wants to give up its unfettered existence. It is a feeling of total abandon and the dragonfly flitting about the in the open, is a perfect symbol to portray my thoughts and feelings. In your paintings, is the location of the dragonfly of any significance? In paintings where the dragonfly is in consonance with a female figure, the positioning plays a role in expressing my ideas. In many of these paintings, the dragonfly is flitting around wisps of her hair. The positioning is a symbol of movement and the crinkly wisp of hair is lifted

Impressive figure

A stance of total abandon

slightly as if the mischievous fly, like a child, is making off with a curl of hair, as do little children with their mother tresses. In other paintings, the dragonflies are clustered en masse to create a density of force from where it will explode into a movement, harbouring within them a rhythm that gives the painting a vibrancy and liveliness. Have you exploited this symbolic form of the dragonfly by using the possibilities of distortion? I prefer to stick to the natural size of the dragonfly. I firmly believe that visually, there should be no artificial distortion created. The look should be natural as the idea behind the motif is so palpable and sacrosanct to me. Who is the haunting face that appears so often in your works? She is no real person, but a creature of my imagination. She is what you might term as the ‘dream girl’. She reflects the power of inner beauty in another visage. That is why she is familiar, yet not actual. Her features are created without volition, on my canvases and I do not consciously formulate her anatomy to make it resemble a particular being.

Though she is strikingly impressive as far as her features are concerned, her hair treatment is one of complete abandon. Is this a deliberate depiction? If I had made her hair into a neat coiffure, then the whole purpose of depicting Nature and its association with womanhood which the dream girl embodies, would be lost. Her curly hair is left untended and untrimmed to fall and encircle her features without any tending to bring out the natural stance. The fact that she is not conscious of her beauty relates to her natural and pure status and connects with all that is peaceful, calm and sincere, in life. Though you have used all colour palettes in your works, there is a tendency to use the same colour scheme all over a work instead of experimenting with a riot of colours in one painting. Why? Though I am fond of a varied colour palette, I am selective in the use of colours in a painting. This is because colours for me are not merely illustrative but also thought provoking. For instance the colour red to me is the embodiment of Indian womanhood as it is linked with the sindur in Indian culture. I also have a weakness for yellows, browns, The Lexicon Collection

Konark wheel in a sari anchal

sienna and of course the blue palette, particularly the richness of turquoise blue. What gives you artistic inspiration beyond the confines of your studio? I am particularly fond of painting the outdoors at Varanasi and at Konark. When at Varanasi, I never miss a chance to go boating and the gentle lapping of the waters, the passage of country boats on the river and the activities of people on the banks, come alive on my canvases in various moods, colours and fanciful settings. Konark has been the backdrop of my favourite painting till date. I have painted my dream girl against the giant stone wheel of Konark, with the wind ballooning her anchal into a voluminous gossamer net in which a host of dragonflies have flitted in and create a feeling of gathering in a harvest of feel-good thoughts, making the painting a massive anchorhold of all that I respect in life. I have not been able to part with this painting and it is hung in a special place in my home. Also, I never tire of explaining the significance and the symbolism of this painting to visitors at my exhibitions. ■ 199

B C Ecstasy of remix-III

D A. Silent corner B. Self-assessment C. Sharing D. Feelings

LINES THROUGH SUBTLE COLOURS An attempt at breaking down life to its visual essentials

L.N. Rana Born in 1964, Delhi. Qualifications: B.F.A. & M.F.A. (Painting) from Jamia Milia Islamia, New Delhi Shows: 27 Group shows, 4 Solo shows and 2 sponsored group shows in London. Participated in 4 National and 24 State exhibitions in India. Artist camps: Attended 11 Artist camps of the state level category and some of Private organisations. Awards: 82nd Annual All India Art Exhibition (AIFACS), New Delhi, Sahitya Kala Parishad Award, 5th Youth Exhibition, New Delhi. Collections: In India – Sahitya Kala Parishad, Delhi, Sanskar Bharati, AIFACS, New Delhi. Abroad - America, Bahrain, London, Dubai, France, Netherlands, Morocco Mob: 09810323427, E-mail: ranaln@rediffmail.com

old and suggestive, emotional and powerful, his art takes you on a profoundly personal journey. Heavy lines and a selective subtle earthy colour scheme dictate the moods of his work and keep pulling you inside for another look. He has the rare ability to grasp the essence of his vision in a way that is always interesting and unexpected. Coming from a family of talented sculptors, he could have easily followed his family tradition and led a smooth life, but his devotion to the canvas and a desire to do something different made him work on painting, and the rest is history. He is deeply rooted to his culture and has a passion for art. A meticulous, god-gifted, multi talented persona, L. N. Rana has a lot of zeal for life. Yes, we are talking about painter L. N. Rana, whose work has earned him laurels not only in India, but abroad too. Excerpts from an interview: What is art? Art is a manifestation of the interaction between the artist and his surroundings. You see, art is like a deep-rooted khazana. You have to keep on digging

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Ecstasy of remix

The Lexicon Collection

deep to keep getting to it. The jigyasa (curiosity) to have more and more should always be there. How has been your journey of art till now? I had a lot of opportunities in hand as my father was a traditional sculptor. By the time I reached my 10th Std, I was doing work with the family, making ceramic murals. I did the colouring part in the murals. I always thought of new colours, of how to put them on the murals. That kept me engrossed. I also did metal casting with my father and brother N.S. Rana. What is your style? What themes do you take up? My paintings are figurative. I believe that a person’s upbringing and surroundings leave a great impact on his mind. He gets his inspiration from where he lives to a great extent. I too, took things from my surroundings. My great grandfather belonged to old Delhi, a place where you will not find landscapes or jungle, but a lot of people with different moods and emotions. For personal inspiration, I collect raw material from my surroundings and later, put them on the canvas. Therefore, you can see urbanisation in my paintings.

Status of journey-I

Status of journey-II

Feeling cool

I attempt breaking down life to its visual essentials – the charisma of woman, her relationships, emotions, dreams, fantasies that add so much of tone and colour, balance and movement – showing the positive perspectives to life. I enjoy capturing the essence of womanly beauty and her acquisitive nature, which builds a story around her.

and took admission in B.F.A. Then I completed M.F.A. in painting and ever since, there has been no looking back. Now, I teach painting in a Delhi Administration-run school. I also go to a school for special children, where I teach them art. I feel, if not much, I have done a little bit for them. My little help, or rather contribution, if it brings a little smile to their faces, makes me happy. I take everything as a challenge.

the work is sold, it gives a kind of encouragement to an artist.

What colours do you use? I use acrylic and oil-based colours. Acrylic colours dry fast in winter. I also do drawings on paper. Who are your mentors? A. Ramachandran Nair, Jatin Das, Paramjeet Singh (landscape painter), Rajeev Lochan are my gurus. They have guided me in all ways. Their hard work inspired me to become an artist. Who are your favourite artists? Jatin Das, K. K. Hebbar. A. Ramachandran Nair, Tyeb Mehta are amongst my favourites. Their drawings touch my soul. Tell us about your work. As I grew up I wanted to try my hand at painting

Which is more paying, painting or sculpting? Well, nobody has ever asked me this question, but it’s a good question, because people these days are after money; I won’t say all of them, but yes, there is a large number and this fact cannot be denied. Frankly, I personally have never thought about it. I do what I enjoy doing and what the artist inside me asks me to put on the canvas. Money doesn’t bother me a bit. How can you make people aware of art? Paintings must go to a gallery for people to see. Then only will it sell. If a painting is not sent to the gallery, how will people see and get the pleasure and awareness about Indian contemporary art? If The Lexicon Collection

What message do you give through your paintings? I am an artist, not a socialist. I don’t say that I am giving a message or a lesson through my paintings. An artist paints what he feels, from within his soul. At the same time, I feel an artist’s painting can bring about a change in society. But a painting specially made to bring a change in society is a very different concept. What are your future plans? I have never thought about it. I don’t even dream much, or see myself at the top or something. I am a man who believes in the concept of slow and steady. I am nowhere in the race, as race often misleads. I keep to this attitude, which is making me move ahead in life. I think and then move and move and move…. Any message to the up-and-coming artists? Learn, feel and paint. If an artist follows these ■ steps, he can reach the pinnacle of success. 201

B Inauguration by film star Jishnu

Lamp lighting by Mr and Mrs Dandu

D A. Visionary B. The spirit of the age C. In green D. Extreme forward

POETIC ART

An artist with a rebellious attitude set to realise her objectives

Vinita Vasu Qualifications: Graduate from Delhi University, Training in Applied Art, Life-Study from National Gallery of Modern Art, New Delhi. Shows: Painting Exhibition at Junior Level, All India Artists, at AIFACS, New Delhi, in 2006; Painting Exhibition at AIFACS (Solo Show) in 2008; Group Exhibition at Art Mall, New Delhi in Jan. 2009; Selection in 80th and 81st Annual All India Art Exhibition at AIFACS, New Delhi, In 2009, Selected among top 75 at All India Art Competition, Raja Ravi Varma’s, Rang Rasiya, in 2009; Two-man show at Travancore Art Gallery, New Delhi in Feb. 2010. Mob: 9213921263, 8800371378 E-mail: vini2011delhi@gmail.com website: www.vinitavasu.com

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Every Eve had a dream to get her a perfect Adam, With whom she can share the piece of an apple and the pie… Which they can bake together…

inita’s artistic perception blends powerfully with her poetic ideas, which expand her imagination to derive the right correlative for visual adaptation. Her compositions are elemental in nature and highly contesting; the base of her ideology is perhaps due to her determination to adopt a rebellious attitude to realise her objectives. She thematically defines the strength and weakness of a woman, her hardships and her determination. She believes in giving a ray of hope to their suffering minds in a contemporary manner, through a combined expression of abstract and figurative compositions. Her woman is a pillar of victory, who attains that status purely by her own sources of inner strength, battling against all odds, analysing and simplifying the complicated and delicate circumstances she is The Lexicon Collection

placed in and bringing forth a fresh perception into life and living. She has used a snake to build a symbolic narrative in the compositions. The nude female figures in her work is seen entangled with snakes. This indicates the extensive suffering of the women and the encroachment on their freedom. Excerpts from an interview: What do you try to reflect through your paintings? My work represents my inner thoughts and feelings. It reflects optimism because I am optimistic that I will achieve what I have set out to do, one day. Right now I am struggling and know that my struggle will end because I am on the correct track – that is hard work and determination. My style of paintings is realistic. Usually you paint faces and the eyes are very prominent in your work. Apart from that you combine several concepts in a single frame. Is it not difficult to conceptualise in this manner? For me it is very easy to use symbols, appropriate colours and placement of women’s faces to convey my concepts. I feel that a woman’s face and eyes are full of expression and can depict

Constructing innocence

a complete story. With her eyes she looks very optimistically towards the universe and is determined to prove that she is the best; she is independent and strong. In one of my paintings I had used pipes, hooks, wires and circles in the backdrop. There is another figure in the backdrop lying down as if grounded by her problems. A metallic drum is what she has fallen on. This play of contrasts, where hard metal makes a form lie is the woman in a marsh of problems. The full face of the woman in the foreground is the victorious woman who has overcome hurdles and yet not lost out on her sensitivity. My women are not objects of admiration, but women of spirit, who remain unfazed by negative forces. I feel that woman is nature and that is why I depict her in various forms and textures, especially in a wood texture, in which the wood symbolises nature. What sort of symbols do you use to create a rhythm and continuity? Mostly lotus, conch and sky. The lotus is a symbol of wisdom and knowledge; conch represents vibrant sound which denotes the sound of the cosmic and the sky connects her with independence.

Which are your preferred mediums and favourite colours? I usually do acrylic on canvas and paper. My favourite colours are shades of green, blue and earth. Have you ever felt that it makes a difference which art school you are from? Yes, it makes a lot of difference not in terms of work but without any certificate or degree from a reputed college or institution, society doesn’t give due appreciation or recognition to an artist. It would be difficult to establish oneself in this field if one doesn’t have the backing of an art school education. Famous artists who have inspired you? Anjolie Ela Menon and Amrita Shergil. Do you think the commercialisation of art is advantageous for an artist? I feel that commercialisation is good and, due to this only, we are getting exposure globally. But it is very ironic that people who have power, lack the vision of purity. Those artists who are working hard should be promoted as well as upcoming artists. The Lexicon Collection

Looking high

Greeting the occasion by K.V. Thomas

Art galleries promote only those artists who are already established. They should also get chances and opportunities to exhibit their talents. Besides being an artist, you are also teaching art at Columbia Schools. What is your experience as a teacher? I should say that I am learning art rather than teaching it to my students. Their imaginations are very vast and they need no theme to get started and their thinking power is so dynamic that at times I am left speechless. The principal and the staff both encourage and support me immensely. What does art mean to you? It means my soul, which includes everything present in cosmic energy. How do you give a personal touch to your paintings? I infuse the female face and texture of wood and my woman is bald as she reflects the universe. Usually, the canvas is lined with a net-like crisscross of lines of geometric divisions to suggest that every woman has some anxiety. ■ 203

B C

D A. Soul mate couple B. Musician C. Sorry D. Pleasure

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Life

Beyond

Couple-II

NATURE AND HUMAN RELATIONS An artist inspired by human forms and figures.

Brajmohan Arya Qualifications: B.F.A. Painting from Govt. Institute of Fine Art Gwalior (M.P.) in 2000, M.F.A. Painting from Govt. Institute of Fine Art Gwalior (M.P.) in 2002 Shows: 24 Group Shows, 19 Camp Shows and one Solo Show, all over the country. Collections: Private Collections at Gwalior, Mumbai, Delhi, Chennai, Ujjain, Indore and abroad Awards: Shri L. S. Rajput Memorial (Painting) 1999, A C R O N Landscape (Painting) 2000 Currently working as a faculty member (Painting Department) at the Govt. Institute of Fine Art, Indore , M.P. Mob: 098268-38863 E-mail:bmohanarya20@yahoo.com

Couple-I

or artist Brajmohan Arya, painting is like a rhythm of shapes, forms, colours and tones, etc. For him art is the first preoccupation emanating from the core of his heart. Everything comes next. His venture into the art world was rather dramatic. Like any other average student, he also pursued traditional subjects through the school and college education stage. At that time, he was somewhat ignorant of his artistic potential, but not completely unaware of it. The turning point in his life came one day when he saw a notice of the Gwalior Art College inviting applications from art aspirants. He was then doing his B.Com from a college located just opposite to the art college. Needless to say, he appeared in the entrance exam of the art college and got admission at once. During his studies at the art college, Brajmohan always stood first. It was because fine art was his subject of interest for him. Since then, he has never looked back. Now, he is an established artist living in Indore . His art shows and exhibitions are regularly held throughout the year at various places in India and abroad. The Lexicon Collection

Excerpts from an interview: Tell us something about your native place. I hail from Sabalgarh. You may not have heard the name of this place. It is a relatively little known place in the Moraina district of Madhya Pradesh. Who have been your early inspirations in this field? I feel most grateful towards my mother Smt. Bimla Devi and father Sh. Mishrilal Arya. Both of them always inspired me to pursue art and kept promoting me, although like other parents, they too wanted me to complete my study in a conventional way. But when I informed them about my decision of joining Art College, they encouraged me enthusiastically. As an artist, how do you see the world? I feel, when I look at the world, my artistic feelings take over the vision. I can say that an artist always thinks about art, colours, and canvas and about other artists also, as all these things form the little world of an artist. But as an artist, I receive my inspiration from human forms and figures, nature, natural elements and above all, human relations.

First flight journey

How is an artistâ&#x20AC;&#x2122;s vision different from that of the others? Well, it is the vision of the artist that makes all the difference. We all see so many things around us daily. But most of the people, who are not artists, tend to forget them after a short while and get busy with their daily business. But an artist retains most of what he sees, or observes, all through the day. It is from this observation that he picks his subjects. And I am also no exception to this rule. What is your style? How does it make your subjects unique? In most of my artworks, you will observe that my subjects are depicted with closed eyes. The closed eyes of the subjects show their concentration and devotion. This is a common observation that when we concentrate on something, or sink deep into devotion, our eyes naturally close down. I feel this type of depiction gives my artwork great depth. Also, this style makes my subjects unique; in whatever activity they are shown involved in, they seem to fully enjoy it. This makes the subjects dynamic.

How do find the perception of society towards art and artists? I feel that society has a mixed perception about art and artists. An artist always thinks about the society and wants that his art should give some meaningful message to society. But, sadly, the society does not reciprocate in a similar manner. I think it is due to a lack of saundarya bodh (sense of beauty) that is responsible for this situation. How can you say that? Do the people not like beautiful things? Yes of course, all of us want to see beautiful things. In fact, we are a bit possessive in this regard. The irony is that all of us love to see beautiful things but fail to see the beauty of art; fail to appreciate it. Nude paintings sell like hot cakes, and nude painters are considered great artists by the public, as they find the works have a titillating quality. None of them can fathom the depth of the symbolism conveyed by nudity. That is why there are few takers for genuinely beautiful art. That is why art is confined to some art collectors and galleries. Of course, financial factors are also there. The Lexicon Collection

What is painting for you? Well, if I talk about the technical aspects of art, a painting is like a rhythm of shapes, forms, colours and tones. An artist has to work like an expert musician who creates enchanting melodies from seven notes. These notes are around us but they are invisible. They are created with the help of special instruments. Even a slight incoherence in notes may spoil the music. Likewise, a slightly wrong brush stroke will spoil the whole artwork. Hence, an artist has to work like an expert musician, although he has to play with brush and colours and not musical instruments. How do you create art? Art is a full-time profession for me. As such, I like to work at leisure. Art is the first and foremost priority in my life. I feel that expression of all emotions makes an art immortal. That is why human forms and relations inspire me most. But the greatest source of inspiration for me is my better half. I feel no words of gratitude can describe the role she has played in promoting my art. As a humble way of honouring her contribution, I always dedicate my art shows and exhibitions to her. â&#x2013; 205

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D A. From reality to the other reality B. From the ocean of pleasure C. Avtar D. Falling man

MOBILITY IN ART

An artist who believes that art is a process negating all thoughts.

Mahammad Firoj Ali Qualifications: B.F.A. and M.F.A. in Graphic Arts (Print Making) from Kala Bhavan, Santiniketan, West Bengal. Scholarship: Merit Scholarship from Visva Bharati University, Santiniketan, West Bengal Fellowship: Junior Fellowship from the Ministry of Human Resource and Development, Department of Culture, New Delhi. Shows: Various Group shows and a few two-man shows in India. Collections: India and abroad Now a member of the Visiting Faculty in College of Art, New Delhi Mob: 09313850019 E-mail: firoj_alim@yahoo.co.in

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rt is a subject that does not have any fixed meaning. It is always subject to different interpretations by a diverse range of spectators and the interesting part is all of them are correct in their analysis. It is a huge compliment for an artist if his work is considered as a cultural product and not just an object to be hung in the drawing room. A shy and humble, down-to-earth Mahammad Ali is one such artist who has manages to evoke fascinating reactions from his audiences. His work is not merely an imagination of unforeseen realities. It is concerned with sociocultural history and the surrounding environment. All his paintings leave a soothing effect on the onlooker’s mind. His conscientious efforts bring out a dream-like, lucid layering of the water colour medium. His paintings invite a relaxed smile, a reaction to seeing something so simple and real. In Mahammad’s work, you will mostly see male and female figures with accentuated features. Neither vulgar nor sensational, these figures represent strength and are aesthetic in their form. His lines are bold, strong and often quite simple but it is this The Lexicon Collection

simplicity that represents the male-female form. Even the colours that are used in his paintings are bright, making the picture look real and vivacious. A resident of Birbhum district, West Bengal, Mahammad Ali has been doing painting from his childhood days. His first inspiration was a Durga idol. When he was in class 6th his teacher encouraged him to join Santiniketan Art College. After spending some time in Kala Bhawan, Mahammad did his five-year degree course in art from Santiniketan, in 1992, after which he did his masters in printmaking. He moved to Delhi to pursue his dream to establish himself as an artist and a journey and struggle started for him. He is a part-time lecturer in printmaking at the College of Art, Delhi. Excerpts from an interview: How would you explain your approach to work? My style or approach is very simplified and figurative. I depict man because man is the ultimate reality in the universe. I search that reality everywhere – in myths, religious ideas, life and society.

Lunar eclipse-II

How do you choose your subject? My subject is always in my mind. It is based mainly on human beings. I portray human beings in different forms, as symbols, metaphors, imagery or as background in my paintings. Your paintings also depict the concept related with the Baul singers of Bengal. How did you get inspired by them? The lyrics and music of the Baul singers are soulsearching, quite comparable to the genre of Sufi music. The lyrics in Baul music urge man to search for God within himself and decry the role of mosques and temples in the quest for God. The Baul tradition of Bangladesh is regarded as a fusion of the essence of Buddhism, Hindu worship and Sufi Islam. Bauls were usually frowned upon by society as dropouts whose songs were not in keeping with the orthodox religious beliefs of most people of the times. What medium and technique do you use to depict your style? I use water colour in the tempera process and gouache process. It gives a special effect and

Lunar eclipse-III

texture to my work. My style has changed because I keep experimenting. I don’t draw; instead, I paint directly on the canvas. In the gouache process, first I coat the canvas with black Chinese ink and then apply wash with water colours and gradually mix it with white pigment. You began by learning painting, but you switched over to printmaking soon after. Why? Printmaking is a very individualistic and challenging medium. It is physically demanding too. My print images can never convert into painterly images for the canvas, as the working body itself rebels. When images enter my mind, I see textures that belong either to an etching or to a painting. Are you doing painting for art’s sake or doing it just for the sake of money? To be very honest, I tell you I don’t want to be a commercial artist. I don’t want to make paintings just for money. Of course, it is very encouraging if my paintings get sold. It’s truly encouraging. But still, at least for my art I don’t want to put it up for commercial purposes. I don’t want to do painting The Lexicon Collection

Ocean of pleasure

entirely for money. Rather, I can work for it in some other way. I am an art teacher at present in a college of art. This is something different, as compared to taking an order from someone and painting it only for money. What is it like for you to bring a painting to life? Is the artistic process always the same? Of course, every artist goes through phases, like sketching and then lots of practice and then doing lots of realistic works. After that a stage comes where you paint just for yourself. The lines are just for you. You feel deep pleasure in it. Whatever comes out from this depth, is the painting. Any latest series of your work that you are working with right now? It is based on the lunar eclipse concept. What advice would you like to give to an artist just starting out? They have to practise a lot, and remember that there is no short cut to anything. Again, no one can move directly to abstract. One has to start with ■ doing lots of realistic works. 207

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D A. Contrast B. Whirlpool of words C. Labyrinth D. Molten state

SPIRITUALITY FOR HER CHANGED WITH COSMIC ENERGY The artist who lets her imagination fly high.

Abha Agrawal Qualification: Interior designing Participations: Pune Women’s Club-2009; Rave Art Gallery, Pune, 2009; Chitari Art Academy—State Show, 2006, 2008; SIMA Annual exhibitions—2007, ’08, ’09; DAVV-Indore 2002-2004. Solo Shows: 2009 – Malaka Spice, Pune; 2008 – J Art Studio Aundh, Pune. Awards: Chitari State Award in Abstract Category 2008 Memberships: Member of Society of Marine Artists, Member of Chitari Fine Art Academy Interests: Abstracts which depict colourful life and expose the beauty of nature. Mob: 9960924400, Ph: 020 40047698

onal, or Abha Agrawal as she is known in the art world, is an up-and-coming artist who is showing signs of great promise even at the age of 28. Born and brought up in Sardarpur, MP, she is now married and settled in Pune. Even in her childhood, she was keenly interested in painting. Her college studies in interior designing helped a lot to hone her skills under the tutelage of her teacher. She has worked for over five years as an interior decorator. Her work reflects the beauty of nature and also, uniquely, revolves around the theme of spiritual happiness. It is the latter quality which endows her paintings with a soothing energy which permeates their surroundings. Excerpts from an interview: Do you come from a family of artists? From where have you inherited your artistic talents? Although there are no artists in my family, my dad has always been a great lover of music. I got a lot of encouragement from my family as well. What themes do you adopt for your paintings? I like painting abstracts and figures too. I use oils

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and mixed media for my work. Oils are my favourite medium. Nature inspires me and spirituality as well...and this is reflected in my creations. Who is the person who has guided and helped you in your pursuit of art? It is my teacher – Ramesh Thorat, a well-known artist of Pune. He is my guru. I admire the works of Laxman Shreshta and Raza as well. And from among the older artists, I must mention that Raja Ravi Varma’s paintings are really immortal. How then do you get time to paint? I paint whenever I get time and whenever I get the inspiration to take up the brush! There’s no special time for my painting. Sometimes, I work even at 2 o’clock at night! Does your family help you in your work? I am very fortunate to get a lot of support from my husband. He always inspires me to devote time to my art. My brother too, encourages me in my work. I am thankful for their help without which I would have found it very difficult to do what I love to do.

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Determination

Spiritual intercourse

Is there any method you follow when you paint? It has to come naturally. In my case, I usually first decide on the theme, and then on the colours I want to use, and finally on the composition. How much time do you devote to each of your paintings? Do you work on one canvas at a time? It is difficult to say how long a painting will need to be completed. Usually, at least three to four days. Sometimes many more! To be honest, it takes a lot of time for me to be fully satisfied with a painting. It is not easy to bring to the canvas what is in your mind! So, I keep trying to achieve exactly what I wish to...I cannot rest till I am totally happy with my creation! Is there any special advice you would like to give aspiring artists? I would like to tell them that if they feel they have the talent they must persist tirelessly in achieving their dream. Success will surely follow. Also, they must paint for their own pleasure...not for anyone, or to please or impress somebody else. They should not care about others’ opinions, or try

to copy someone. Their own special genuine feelings and emotions should be seen in their work. Honesty is vital for a good artist. What I wish to say is, let your imagination fly beyond others’ imagination and the rest, will fall into place one day. Can you give me your comments on the present art scenario in India ? The scene has great potential these days and is constantly growing. Today, not only is art appreciated, but artists are treated with respect. People are willing to pay a lot of money to buy artworks too. Even if they may not understand art, they recognise beauty when it appeals to their eyes. Owning a piece of art is, nowadays, a kind of social symbol too, and of course, the work of a reputed artist is a good investment. You began to dabble in painting even in your childhood. What changes do you find in your style through the years? In the beginning, my paintings were realistic and faithfully depicted whatever I saw; my painting looked just like the real subject. But with time, I The Lexicon Collection

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began to give free rein to my imagination. I started doing abstract paintings. And the spiritual touch also began to appear in my work. Why ‘spiritual’? I believe in the presence of cosmic energy, and that this is very important for creativity to blossom. This is how the spiritual aspect began to touch my paintings. I feel there are soothing and calming vibes which emanate from them. When you use colours what do you keep in mind? Colours bear a special significance for me. The colours I use depict my mood when I am doing the painting! Also, colour is important to create the aura of character. For instance, I use red for a bold, strong personality and green for a gentle calming feel. Any special plans for the future? An artist usually allows his or her muse and inspiration to lead him or her on! I wish however, to begin a spiritual series and also try my hand at ■ figurative abstracts. 209

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Beholding Fusion

D A. Celebration B. Solitude C. Living hope D. The Garden of Eden

PORTRAYAL OF SOLITUDE An artist who is fascinated by hills and dales.

Deepa Seth Bhando Qualification: M.F.A. from H.P. University, Shimla. Shows: 20 Group shows and Solo shows all over the country. Awards: All India exhibition award in 2006, Lalit Kala Akademi, New Delhi; North Zone Youth Festival (2005), held by the Association of Indian Universities in 2004. Media Coverage: Kala Parikrama - DD National2009; CNEB Dilli Meri Jaan- 2009; Pragya Channel one hour live programme – 2008; Lok Sabha channel, ‘Expressions’ - 2008, Personal interview (Doordarshan, Simla) – 2006; HP University - Solo Exhibition, HP University Group show Inauguration of Mural at the HP Vidhan Sabha. Mob: 9971222664 E-mail: deepa.bhando@gmail.com www.winsome-strokes.com

eing a blue-blood Shimla girl, artist Deepa Seth Bhando finds her art works wafting across the charm of the hills and dales, even when they have been created in the urban makeover of Gurgaon. Veering away from strictly landscape works, Deepa includes a symbolic element into the natural studies, so that theme, colour and thought, find a unique harmony in her creations. Excerpts from an interview:

What are the thoughts that you try to convey through your paintings of Shimla hills? I portray the joys of true solitude by taking the backdrop of the hills of Shimla to simulate the emotion. It is a reflection also of the solitude that overwhelms the senses even in the midst of the playfulness of nature. The dark niches created in the painting of the undulating countryside are the ‘nooks’ that harbour this solitude of the mind. Not all your paintings carry the palette of the hills on them. Why? The colour palette in my art is not a true copy of

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The rhythm

The tree of worship

nature as such. The colours on them reflect what I, as an artist think and feel, and the mountains are a mirror reflecting my state of mind. The interesting tonal qualities of the colour palette are very effective for me in expressing my feelings through my art.

beholding each other. It is a fusion of thoughts and shows true love. In such a state of mind, there is no sense of ego; no desire to overpower. It is a state of mind where one half reflects the other and together they form a whole, a mystic concept that is central to human existence.

habitation that I include in these paintings are therefore carefully chosen so as not to disturb the thoughts created by the mountains. Thus, the buildings are usually monasteries and temples and humans in the form of monks are seen on the canvas.

What does the inclusion of bright colour effects, such as prayer flags, convey in your art? The small cluster of reds in one corner of an artwork of grey hillsides, is not just a way of balancing the colours. It is symbolic of the rhythm of the hills. The red flags fluttering in the foothills of this painting symbolise man’s trust and faith. The fluttering of the flags in the wind seem to carry the message of faith to all the corners of the universe. The flags are also symbolic of the power of faith and trust, for if one nurtures these two supreme qualities, one can hoist one’s being anywhere and everywhere.

There is also the inclusion of writing on the canvases. Does this have special meaning? The writing too, has a symbolic angle. It is written in a strategic space on the canvas, in between an abyss-like formation in the hills. It is also a fault that appears in dunes. The bright light emitted from the surround is self-explanatory. And I title the work around the theme of brightness so that viewers are drawn to my theme, though they may agree or disagree with it.

What do trees in your paintings symbolise? Like the mountains the trees in my art are not decorative elements. The dry branches of trees are reflective of life’s torments. When there are kites stuck on their branches there is a moment of celebration conveyed through its bright colours. It is also the celebration of the regeneration of Nature during seasons such as spring.

At time, your paintings seem to reflect a fusion of opposite colour schemes. Is this also a symbolic statement? The blue and the red in the painting are

In that case what do the mountains express? I like to believe that mountains are the silent spectators of centuries of human experiences. Though they do not speak in the same language as human beings, they have their own lyrics, in gurgling streams, in windblown flags, in cracks that appear in the snow, and other features. The

Describe your favourite painting. Although all my paintings are dear to me and I do not differentiate one from the other, I particularly like the work titled ‘The Protected’. It is an image of a serene blue lake surface. All around the lake are a wall of mountains in dark hues that seem to be the guardians of this pristine spot on earth. The mountains protect this precious spot of blue from being spoilt by human beings, for the The Lexicon Collection

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mountains make it difficult for mankind to reach this isolated spot and dilute the purity of the waters of the lake. Since all your canvases are based on mountainscapes, do you sketch and outline several canvases at a time? That is not quite the case. I always work at one canvas at one time. This is because thoughts constantly enter my mind while I am painting and I try to incorporate these inner feelings on its surface. If I try my hand at more than one canvas at a time, I will lose the train of thought and painting will become an illustrative and mechanical process. What is the size of canvas that you find ideal for your paintings? The size that I am comfortable working on is the standard 2X3 size canvas. In that size I can execute techniques such as wash and even adopt some miniature elements so that the painting has a proper sense of balance. But more than size, my desire is that my paintings find good homes where the inmates will cherish my efforts and my works ■ will bring happiness and peace to them. 211

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D A. Sub Reflection-I B. Sub Reflection-II C. Sub Reflection-III D. Sub Reflection-IV

EXTERNAL OBJECTIVE ART!

Weaving characters with the thread of nature’s compositions.

Monika Verma Qualification: B.F.A. in Painting from Patna University with 1st Division in the year, 2003, M.V.A (Master of Visual Art) in Painting From Lalit Kala Sansthan, Dr. B.R Ambedkar University, Agra in 1st Division, Pursuing Ph.D from Dr. B.R Ambedkar University, Agra. Shows: 24 Group shows, Solo shows, Art Exhibitions, Competitions and Seven camp shows all over the country. Awards: Awarded many times in competitions and art exhibitions. Working as an Art Teacher in Delhi Public School, Sushant Lok, since 10th March 2007 Mob: 9911809340

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onica Verma stands out in the array of artists, who are quick to assimilate the practices of renowned painters, learning and absorbing in a manner which outshines her contemporaries. Her sublime thinking originates the very notion of her themes and thereafter she strives to attain on a canvas the status of being called

her brainchild. Monica is an unlikely artist with such above attributes in this age. Her father, R K Verma, discovered his precocious daughter’s ability in drawings and hence sent her an art school for further study in the profession. Later, she enrolled herself in the Patna University for pursuing a Bachelors in Fine Arts degree. The artist also completed her term as a Master of Visual Art in painting from the Dr B R Ambedkar University in Agra. Nowadays, she is keeping busy pursuing a Doctorate certificate in Arts from Dr B R Ambedkar University in Agra. On canvases, Monica weaves her characters The Lexicon Collection

with a thread of nature’s compositions and atmospheric effects, imbuing her own experiences with them. Her series offers an imitation of nature with her unique yet imperative artificial structures, being used in daily life by one or another. The 33-year-old painter promises to paint the poetry of life with the essence of nature, interpreting the verse in an abstract form. She brings in miniature objects from routine life prima facie and puts forth their inevitable role to make the human lives so inclusive. She drafts innocent and true-to-life external objects such as “boats” and “doors” with their overwhelming force and grandeur. Her current series on boats reflects the significance of the object, learning the fact that such variables necessitate us in our life to get over the problems. Dr Anjni Prasad, a renowned painter, a critic of her paintings and her husband, describe her works, “Besides the fact that I got married to her, I am also a critic of her drawings. Her paintings address the provenance and circumstances surrounding the acquisition of the life. The artificial objects at one point add good faith

Sub Reflection-V

and exemplify the logic to create such things by universe, which helps to solve difficulties in our daily life.” Monica sketches her peripheral objects with the help of geometrical lines as part of efforts to underline the meaning of the objects. She inserts straight and curved lines as if they are playing the role of fuel in the fire of her current theme. She also portrays triangular, squares, rectangles and several other forms of geometry in their original shape looming in the background, to leave art lovers mesmerised. These geometry forms sometimes seem to guard a desire-to-free artist, who longs to represent her canvases as a synonym of metaphor and irony. These rhetorical lines in turn befriended with the subjects, stretching the scope of her art. She allows herself to stroke simple and mind-soothing drawings with the spice of lines and textures that are crucial to evoke. Recipient of an award given by the Ministry of Tourism and Culture, Government of India, Monica’s textures heighten the spirits of her drawings, giving a view of breathtaking and exhilarating scenes. She uses rope, combs and

Sub Reflection-VI

sometimes a roller to create these textures. The entire features – nature, artificial variables, geometrical lines and textures – complement each other in any way and at the same time make efforts to dwarf each other in reference of their implication. Dr Prasad observes, “Her patterns of textures display an overwhelming and inspiring power of every single brush stroke; stating that they are the classical compositions of the drawings. From this never to be defined encounter of strokes with characters, she attempts to extract the verse of thoughts into her fondles, resulting in her extended sojourn of the theme.” Besides, the aspect which reflects Monica’s beauty of thoughts is the modus operandi of presenting the transparency in colours. She puts layers of a colour on that of other colour and keeps on putting them on others, bringing transparency in each shade. She uses acrylic and focuses on the clearness of hues so that viewers can recognise the each paint used on a canvas, compelling them not to leave the spot without praising few words in her respect. Keeping glance at her current series of boat, it The Lexicon Collection

Sub Reflection-VII

becomes evident that her palette of brown, blue and yellow plays a constant revolutionary role, celebrating the victory of dominating every critic through her way of transparency in these colours and capability to present it very clearly. Monica has a constant ability to give attention every part of the canvas for perfection. Her paintings cause a stir in the prolonged presence of the artist, who has organized many exhibitions whose number is much higher than her current age. Monica thanks her husband saying that no project is completed until its objective has been achieved and in the same way my works is unfinished without his comments. He makes me believe that when we strive to become better than we are, everything around us becomes better, too. At conclusion, her simply forms and smoothing yet intensify shades along with the touches of youthful whimsy and fun are the features of Monica, whose pictures seem to tell its own saga, reproducing beauty of nature and quiet moments of life. Her frames are breathtaking stories inspiring ■ others with all sorts of possibilities. 213

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D A. The attraction of beauty-I B. Waiting-I C. Waiting-II D. The attraction of beauty-II

A MAN-WOMANORIENTED ARTIST Portraying relationships with an open mind.

Radhey Shyam Qualifications: BFA from Shilpa Bharati Institute of Fine Arts and Crafts, Patel Nagar, New Delhi; MFA and M.Phil. from Lalit Kala Sansthan, Dr. B.R. Ambedkar University, Agra Shows: 13 Group shows, 15 Camp shows and Seven art exhibitions in India Collections: In India Awards: 1st Prize in On-the-Spot painting competition organized by All India Federation of Teachers Organization, in 1995; National level honour from Kalavarat Nyas, Ujjain, at the Rashtriya Kala Abhyudaya Sanmaan, in 2007. Curated shows: Parikarma, an exhibition of paintings and sculptures curated by me at Niv Art Centre, New Delhi, Feb. 2009 Mob:09810515140 e-mail: radheyshyamfinearts@yahoo.co.in

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orn in 1976 in New Delhi, Radhey Shyam received his B.F.A. in Applied Arts from the New Delhi-based Shilpa Bharti Institute of Fine Arts and Crafts in 1999, and an M.F.A. in Applied Arts from the Lalit Kala Sansthan, Agra, in 2003, and M.Phil in 2004. He has exhibited his works in different galleries of Delhi. In his figurative work Radhey Shyam has very successfully expressed the sombre and contemplative mood of man and woman and their relationship in the present context. His figurative paintings are mostly woman-oriented. He depicts women’s role and their importance in our lives. Excerpts from an interview: Did you always want to become an artist? From the time I had learnt how to hold a pencil, I have been drawing and sketching. The earliest memory I have is of tracing pictures. When I came in contact with my uncle Satish Kumar and my art teacher Mr Joshi at school, he impressed me immensely and after completing 10th class, it was clear in my mind that I would go for fine arts. And this is how the journey of my passion started. When The Lexicon Collection

I came back to Delhi after completing my M.Phil, I taught for one year in a school and since then, I have been working as a full-time artist. Can you throw some light on your style of painting? My work is mainly figurative and I portray figures of both men and women. I depict on my canvases the nature, thoughts, feelings and personal views of both men and women. You would find all the aspects of relations between a husband and a wife. Most of my work is based on the theme of ‘the attraction of beauty’ that is woman. Apart from that, you will also find a meditative touch in my paintings, again associated with the relationship between man and woman. What are your preferred mediums and colours? Do you think colours play an important role in enhancing a painting? I like working in oil, mixed media, charcoal and acrylic. Largely, I use black, brown, red and am presently working in golden colour. There is no doubt that colours play a vital role in enhancing and beautifying the painting. Colours give a

The attraction of beauty - III

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message and also provide richness to the work. I use black and brown to add that richness.

their minds and accept each other’s hearts with open hearts. It is necessary to have an exchange of thoughts in the relationship.

reached this level. Initially I had wasted lots of colours. I had started experimenting in 2003, and in 2006, I had a clear vision that I would work in this particular style.

Explain about your technique. My complete work is texture-based and I have developed this style myself. To prepare the base, I first do a coating of oil and water. Through this coating different textures emerge and I work on those textures to give certain effects or forms, although very subtly. Could you comment on the use of symbols on your canvases? I feel an artist can express himself with the help of symbols to some extent and they also leave an impact on the viewers. Usually I use lighted lamps in my paintings, which implies a sort of confidence and courage. You have used doors and windows in most of your paintings. What is the idea behind drawing them? In my paintings you will not find any closed door or windows; they are all open. Likewise I want to say that men and women should unlock the door of

What is the specialty of your work? I feel that it is very important to describe the relationship between man and woman, their problems and egos. I always try to send the message through my paintings that to build a healthy relationship and a bonding they should understand and support each other. I believe in the beautiful association of a husband and wife and it shows in my work. That is my specialty. Is it difficult for a full-time artist to survive in India? Indeed it is difficult, especially after the period of recession. The Indian art market is down these days and it is very difficult for a freelance artist to survive. Ten years from now where do you want to see yourself? As an established artist. Do you believe in experimentation? With an aptitude of experimenting only, I have The Lexicon Collection

Who is your inspiration in this field? I am totally inspired with the works of Raja Ravi Varma. How do you take criticism? In a very positive manner. It helps me in improving my work and gives a sense of satisfaction that my viewers really want me to improve myself. What is art for you? Art is a passion for me. I can’t think of living without art. It is like food for my soul. Any words for struggling artists? I am myself a struggler yet (laughs). Work hard and consistently; never give up. Don’t eye high goals, smart dreams. With practice your art will refine and art lovers will certainly appreciate it. This ■ is all I can say to struggling artists. 215

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D A. Mother nature B. Mother earth C. Water colour on nature D. Rebirth

THE ART OF NATURE

An artist whose creations, laced with maternal love and affection for nature, provide great solace.

Sunil A. Sawane Qualification: Bachelor of Fine Arts Presently working as a Manager (Publicity) in IFFCO. Exhibitions: Organised exhibitions in FMDI, Gurgaon and other galleries in Gurgaon Krishna Art Gallery, Defence Colony, New Delhi Participated in several Group Shows. Awards: Gold Medal in Annual Art Exhibitions organised by Govt. Chitrakala Mahavidyalaya, Nagpur, 1982; Best Employee Award, 1992, from IFFCO Marketing Central Office on the eve of IFFCO’s Silver Jubilee Year Poster competition awards Mob: 9810238984, 0124-2346879 E-mail: sunil.b1145@gmail.com

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orn on New Year’s Day in 1958, artist Sunil Sawane has an interesting tale to tell about his evolution. He belongs to a family of artists. As such, his initiation into art began early in life. After finishing his schooling from his hometown Wardha, in Maharashtra, he joined art classes. Already, during his school days, he was colouring wooden toys. Later on, he joined Chitrakala Mahavidyalaya in Nagpur to study applied art. He was such an accomplished artist that in the final year of BFA, he bagged the coveted gold medal for his poster about banning liquor consumption. Recently, he has given new dimensions to his paintings depicting remarkably different forms and incarnations of ‘Ashtha Vinayaka’ deploying mixed media. His wife is an artist herself. Sunil Sawane has equal expertise in graphics, illustration and sketching. He has won several awards and citations. The peculiar thing about his art is that natural forms seem to emerge out of and then again merge into the background in his paintings, creating a magical effect. Over the period, Sunil has evolved his distinct The Lexicon Collection

style. He sticks to primary colours mainly, making extensive use of red, blue and yellow in his paintings. About his preferences for colours he says, “Common four-letter words communicate most effectively with the readers in literature. Likewise, in art, primary colours and other common colours do that job.” But that does not mean that Sunil is a stereotyped artist. He makes lavish use of other colours like green, brown, pink, orange, violet, white and others. But again, these are very common colours. That is the strength of Sunil’s art works. Sunil’s paintings have proved to be an important milestone. He has given due emphasis to the lively and loveliest parts of nature, like birds, animals and women. Fluctuations in the environment are linked to changing emotions and nature, though the sun, has also been highlighted in vibrant yet simple colours. He has given equal place to human maternal love and affection among birds and animals. The artist has astutely exhibited essential attributes of women in his pieces with an admirable deftness. His first exhibition was held in 1994 and was inaugurated by Shanti Dave and Dr. U.S. Awasthi, managing director IFFCO. His

White bird descending to earth

imaginative painting ‘Fantasy’ gives a soothing effect visually in today’s world. Painting on day-today complications, nature, environment and emotions out of human reach is the need of the hour. His creations laced with maternal love and affection provide great solace to us. Excerpts from an interview: Tell us something about your home town. I belong to Wardha, which is a relatively lesserknown place in Maharashtra. But it has great historical importance. It has a long association with Acharya Vinoba Bhave and Mahatma Gandhi. When did you venture into the art field? I belong to a family of artists. So I have not come from the outside. Instead I have grown from within. Actually, I was initiated into art at an early age and while I was doing my schooling, I began painting wooden toys. However, formal training in art began after I finished school education and joined Art College in Nagpur. After finishing BFA, you can say, I ventured into the professional art field and started working as a commercial artist with an advertising agency. Later on, I joined IFFCO, in Delhi .

Peace

Your work in IFFCO is in applied art. How did you turn towards fine art? All along my stint at IFFCO, I never gave up my love for fine art, as the creative urge within always pushed me towards this end. In fact, working with IFFCO proved a boon for me. How? Dr Udai Shankar Awasthi, managing director of IFFCO, lent his wholehearted support to promote the artist in me. Besides him, veteran artist Kala Ratna Shanti Dave also played a pivotal role in encouraging my art skill and Mr. N. K. Bhardwaj President IFFCO Employees Union also give me wholehearted support. This thing apart, I am working as a manager (publicity) with IFFCO and my job frequently takes me to rural areas and farmlands, where I find myself close to nature. So, nature makes an appearance in my paintings vividly. How much is your artwork is influenced by nature? To a great extent. All elements of nature, like trees, birds, animals, seashells, mountains, waterfalls and, of course, human beings, are visible The Lexicon Collection

Bull power

in my paintings in obvious and sometimes not so obvious forms. Besides nature, there is some element of abstraction also in my works. What mediums do you usually prefer to work in? I feel at ease with various types of mediums. However, oil on canvas is my mainstay. Once in a while, I dabble with pen-and-ink drawings and mixed media also. The presence of a conch is a regular feature in your paintings. What does it depict? You are right; I have painted a number of abstract forms of conches. It is a thing that gives power. Everything begins with the blowing of conch (shankhnaad) shells. Besides, it shows the depth of life also. Has your native place influenced your art? Well, Wardha is a very simple town. Even today, it is miles away from the evils of modernity and harbours a simple lifestyle. So, in the first place, my paintings reflect simplicity. Then my family’s background concern is also reflected, that is, devotion to nature preservation. ■ 217

B C

D A. Music-I B. Love C. Music-II D. Nature

AN EXPLORER OF NATURE

This artist has made as his leitmotif the reflection of nature at its colourful best.

Chander Shekhar Qualifications: B.F.A.(in painting) from College of Art, New Delhi, in 1999; Diploma in Digital Designing. Shows: 21 Group shows and Duo shows all over the country. Art fairs: Participated in All India Fine Art Trade Fair at SELECT CITY WALK a mall in Saket, New Delhi -2008 Participated in All India Fine Art Trade Fair, at EPICENTER, Apparel House, Gurgaon, 2009 Collections: In India and Abroad Mob: 9868894278/9540143885. E-mail: cha2she@gmail.com cha2she@yahoo.co.in

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rt is a skylight in one’s life, imagination and discrimination. However, when used in a technical sense, the term ‘art’ means any skill or mastery which depicts human activities or the environment. It could also be defined as an aesthetic consideration in order to manifest the expressive and conceptual intention of the practitioner. The universal language of nature, whatever be the form, appears at a junction where the real meets the imaginary, where the mundane interacts with the supreme. Young Delhi-based artist Chander Shekhar sees nature as his visual resource. His canvases and dark colours express his love for nature. Constant forms of earth and vegetation find their way around the surface of his canvas. They sprout forth life and hope in an even faster dwindling environment; the psychological and the physical. Born in Delhi in 1977, he took his BFA from the College of Art, New Delhi, and is at present working as an art restorer also. Within a short span of his artistic career, his talent has already come to the notice of art promoters and curators. Thematically creating a sense of mystery The Lexicon Collection

through his dark backgrounds, the ambiguous forms emerge out of unknown spaces incorporating within it, the splashing brightness of stylised female forms. In Chander Shekhar’s canvas, such imageries in varied forms…as Krishna and his consort on one canvas and as a simple female figure in the other, reminds one of the elegance and poise of the classical images, which are also being represented through strong motifs, that’s contemporary. All these ideas and imageries fuse together in a frame where imaginations see no limits. “Keep your love of nature for that is the true way to understand art more and more.” When Vincent Van Gogh made this statement he knew that nature was a perennial source of inspiration to almost all artists. Chander Shekhar is one such artist in the making whose works reflect nature at their colourful best. The artist manages to secure the maturity so specific to a good work of art. Excerpts from an interview: Your work explores nature. How do you view nature and its role in your art? Mother Nature is beautiful, sensitive, and

Buddha

temperamental and procreates. She is truly one of the fairer sexes. And this is what I depict through my work. My paintings deal with all aspects of nature, but also include women in all their glory. We are all products of nature. I symbolise anything related with nature. Like when I paint Krishna and Radha, in a way, I symbolise nature. I have used nature’s colours to depict the relationship between nature and human beings. I always try to show positive aspects because negativity enhances negative vibes. Your style seems to be different. Could you explain about it? It is semi-realistic. Actually the realistic work gives a 3-D effect but I have created my own style by giving my paintings a 2-D effect. Mainly my focus is on colours and in spite of using eight to 10 layers of colours in a painting the transparency remains and one can see all the layers. What would you call your technique? It is a glazing technique. Often I use brown colour; it gives the depth. I work in the oil medium.

Natural love

Tell us something about your latest series. Currently, I am working on the Buddha series which is inspired from Ajanta art. I want to feel Buddha within me and want to relate it with the colours of nature. His main concept was meditation and peace, and I am working on that concept only. There is an Ajanta look in most of your other paintings too. Why? Once I had gone to see Ajanta Caves and prior to that I had an influence of western culture. Seeing the beauty of Ajanta art, a change occurred in me and my inspiration turned towards the Indian traditions. You would find a spontaneity in my work and so I can say that it is a mixture of the Indian and western touch. The Indian touch is the essence of my paintings which my viewers like. Your female figures are bold as well as sensitive and show softness. Are you trying to convey some message through them? The male is a seed only, the cause of the birth, but a female gives birth to a baby. She is a creator and emotionally strong. The female figure is a symbol of nature not a body in my paintings. The Lexicon Collection

When considering the lack of museums dealing with contemporary art in India and also the limited educational possibilities within the field, it seems that the frames of the contemporary art scene are mainly organised around the commercial galleries. What is your view on this structure? While I understand the need to hold on the commercially viable artists they made no effort to reach out to all those artists doing very good work. Let me assure you that there are many artists doing fantastic work and many from among them go completely unsung. These galleries create a sort of organised hierarchy or caste system amongst the artists that naturally knocks out many artists coming from smaller towns etc. Their artists got represented in international shows and in all the collections that were happening in India. Things have changed a bit now with more galleries in the field; but truly we need many more institutions and definitely more galleries. Above all, we need more informed buyers who will use their own sense and judgment. The boom that was in the art market has led to some focus on this need for more discipline in every field ■ of art, especially the visual arts. 219

B C

Blossom of the new

A. Terror strike 26/11 B. Tree of life C. Inside out D. Waltz of grace and joy

THE MYSTERY OF STROKES An artist imprints what the subject wants to.

Aiyana Gunjan Profession: Brand Consultant, Partner with Alchemist Brand Consulting, 16 years experience of strategic planning in advertising. Qualifications: BA (Economics) from Lady Shri Ram College, New Delhi; Master of Business Economics, Delhi University. Participation: International Residency Programme ‘India-Korea 2008’, curated by Academy of Visual Media. Exhibition: Dhoomimal Art Centre, New Delhi, Nov. 2008. Member of the Academy of Visual Media. Mob: 09810141615 Email: idea@aiyanagunjan.com Website: www.aiyanagunjan.com

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or one, applying ink in tiny to thick range with a calligraphy pen a thousand times on canvas, right after getting home from gruelling sessions in office is not an easy task. But when the echo of pen strokes culminates into melody of intuitive pleasure, it remains no longer a task but develops as a meditation that is relished by the soul throughout those continuous hours. This is how Aiyana rejoices the nectar of a life i.e., happiness. Aiyana Gunjan’s meditation is calligraphy painting. Ink and pen, along with watercolours, are the intimates who never leave her feeling lonely. Aiyana’s profession given title is: “Brand Consultant and Partner at Alchemist Brand Consulting”. Aiyana has 16 years experience of leading and strategic planning function in the advertising industry; worked with leading agencies Ogilvy, JWT, Mudra and others. Born in 1970 in Allahabad; did schooling from Modern School, Barakhamba Road, New Delhi; higher academics from LSR and MBE in same city; she never went away from Delhi. Isn’t it a daunting undertaking to head consumer-sensitive strategic planning in The Lexicon Collection

advertising simultaneously painting a canvas with tiny strokes of calligraphy pen? She enlightens, “My work is an act of surrendering to the intuitive flow of life where the mind is the humble servant. The brand planning involves being true to the consumer and the fine art is about me being true to my inner self”. Creative instincts in Aiyana (inherited in a family steeped in art, music and culture) and guidance of her gurus— Shobha Broota in painting, Anis Siddiqui in calligraphy and Subrata De in Indian Classical Music-Sitar have groomed up her personality with multifarious traits. It’s Aiyana’s inventive instincts that moved her to compose poetry that became base to Subrata De’s thematic sitar album, “Ganga, the journey called life” launched by Saregama(HMV) in 2006. She participated in ‘India-Korea 2008’ art residency exchange programme held in Khajuraho and her works exhibited in Dhoomimal Art Centre, New Delhi. More about Aiyana — is a member of FICCI-FLO, part of Delegation, Edinburgh International Festival of Art and Culture, held in 2004. Creating workshops for NGOs is one more work, nay,

Social climber

relaxation. Her both-brain thinking also represents her as a cultural anthropologist, terming “semiotician”. Spiritual teacher Mr Partho puts in, he finds in Aiyana’s work a perfect blend of fluidity of movement and intense attention to detail — and this creates a lingering and subtle meditative effect. She is now at a critical point of her inner journey and the collection of her work becomes a significant expression of that journey — a creative chronicle of a spiritual unfoldment! A calligraphy art piece, “Aspiration” strikes a feature— the artist never ever allowed the lows of life to pull her down; in contrast, the life can’t anyone allow to walk without the pang of sorrow. Fine art, for her, is truly the art that makes her feel so fine within. Excerpts from a talk: How do you do all the works? I savour the spirituality through working. I nourish my soul while painting , as it’s an autotelic experience for me. I flow with pen, ink and watercolours to maintain a dialogue with the Supreme Creator. Sitar with me has same

Freedom- in praise of the lotus sutra

relationship. And, in brand planning, I replenish the consumer by being bona fide to them. It’s the doer’s mind that follows the soul’s instructions and finally, a good result is seen on surface. What about your affection with pen and ink? I don’t know exactly but I think it’s a karmic relation of me with pen and ink. Since childhood I was crazy about ink pens. Crafting is my first love. Painting on plates, creating impressions out of pressed dried flowers, tie and dye; and other art crafts were a great recreation for me in my childhood. Points about calligraphy painting… In this style of writing we have five strokes; meaning these five components create all the alphabets in calligraphy. So we can take out several beautiful forms out of a single calligraphy stroke. And now, various colours put many outcomes and effects finally. Actually I innovated, taking the calligraphy stroke out of box of the alphabets to the tune of abstract art. And, these several beauty forms in abundance, in an order, let me put final upshot. The Lexicon Collection

Meditation in movement

How can one, such as you, explore deeper dimension and perspective of life through creative work? Proper understanding of a creative work, such as a fine art reaches one closer to the deeper dimension and various perspectives of life. It accompanies you to touch the horizons that are beyond the limits of logical mind. What is art for you? It’s a joy and sanity quotient for me. I enjoy the work from beginning to the finishing; that's why the whole process of the work gives me a sort of sublime energy that is unparalleled to anything else. It is the art that takes me to myself. It is the process of painting through which I journey in myself. Subtle understanding of life is one of the noble qualities. And art is based upon it. Painting is a discipline for me as well and I love to practise it. What is the ultimate goal? Become like a pen that imprints what the subject wants to. A pen with ink does exactly the doer’s will. I am a pen to do Supreme Creator’s messages. ■ 221

B C Sanyasi-I

D A. Krishna-I B. Krishna-II C. Krishna-III D. Krishna-IV

FAR FROM THE BOUNDARIES This artist views art as something not to be understood but felt.

Shikha Agnihotri Qualification: PhD. on Drawing & Painting - Topic - Bhartiya Chitrakala Mein Khanijon Ki Bhumika from C.S.J.M. University, Kanpur. Shows: Four Group shows and Four Solo shows Collections: Many Collection in art galleries in India as well as in USA, London and Australia. Awards: Solo Exhibition in Chikutasi Kala Mela, Kanpur in the year 2003 & 2005 on Oil and Water colour medium, Solo Exhibition in Kala Mela, Phool Bagh in the year 1998 on Oil and Water colour medium. Mob: 9289500841, 9289044197 Email: artist.shikha@gmail.com www.artistshikha.blogspot.com

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xploring new horizons through her art works is Shikha’s forte. Painting is something which captured Shikha’s attention right from her childhood days. This promising and young artist used to make paintings in her textbooks even when the teacher was inside the classroom. Nothing could stop this fun loving girl from exploring the wavy lines on the canvas. Born and brought up in Kanpur , now settled in Delhi , Shikha got a chance to grow up in an artistic and creative background. She did her Post graduation in drawing from Kanpur University and her PhD on Bhartiya Chitroon Mein Khanijoon Ki Bhoomika. When she came to Delhi in 2008, she had a chance to meet a very senior artist, Viplav Biswas and according to Shikha now he is her inspiration and she is learning the depth of drawing, from him. She strongly believes that an artist is all loaded with narrative content about art but, apart from that, one should also know which type of art suits one’s needs the most. Her father had realised in the early years of his daughter’s life that she had a knack for painting. The Lexicon Collection

Nature

Excerpts from an interview: Tell us something about your style of work. It is semi-realistic from the beginning. I had never tried to make my work very realistic. Instead I believe in showing the expressions through lines only. I feel the detailing or over doing of a work mars the essence of the thoughts and depiction. How would you describe your paintings? My painting is something which is not meant to be understood, but felt. The lines in my paintings are unpredictable and I don’t know why these lines are there as they are! Why they appear and disappear, cross each other and take turns, is impossible for me to explain. I just see… I just draw… I don’t think at that time. I keep myself free from distracting thoughts. I let myself go with the curves of the lines and experience the peace. What is your favourite subject? Krishna is my favourite subject, as I had to go to Vrindavan frequently for my research work. My Krishna series is based on his romantic emotions and is a very different form. I also like to depict the strong side of the personality of a woman, her

positive aspects and power. I don’t like portraying negative themes on the canvas. Does that mean you want to ignore the negative aspects, or turn away from the reality? Not depicting the negative aspects of life, doesn’t mean that I am not aware of the harsh realities prevalent in the society. Which colour do you like to use most? Blue. It attracts me because it is the colour of Krishna. What is your medium and technique? I work on acrylic as well as on oil. I experiment with textures, and use layering as well as flat colours. I don’t like to create boundaries. It seems that nature fascinates you to a large extent. I try to touch nature in my paintings in varied forms to show the environment and greenery. I want to convey through my paintings that we should protect nature and how necessary it is to have greenery around us.

Does the mood of the artist influence the end results of his/her paintings? It is true in my case. My paintings are the reflection of my mood, but it is a very normal process; everything comes naturally. Where do you want to see yourself in the next ten years? I want that senior artists recognise me and come to see my work and guide me on where exactly I stand. What is your opinion regarding the role of the internet in the field of art? In a way it is good. The sad part is that nowadays some artists are misusing this medium and copying the work of other artists. They should retain their individuality as one can learn the technique of others, but copying is unethical. What do you think of today’s artists? Every young artist aims for success, but more than their chasing it, the fast track has started chasing and looking for them. This is the way of the present art scene. From a personal point of view I The Lexicon Collection

Lady with moon

feel that if one faces challenges and struggles initially, it pays off in developing one’s character. How are art galleries helpful towards new artists? I feel that art galleries are open to do business. New artists have to struggle because the attitude of galleries towards them is not favourable. But as exceptions are always there, some art galleries do support and encourage the new artists. What does a prize matter to you? I had never participated in any competition from the beginning because I feel that I have to paint only. I don’t like any kind of boundaries. I have no fears, no complexes and don’t run after awards and prizes. Which artists have influenced you and how? I have met artists like Viplav Biswas, Umesh Verma. I like their paintings. Amrita Shergil and M.F. Hussain inspire me as their works are remarkable and inspirational at the same time. Apart from this, there are so many artists whose works inspire me a lot, especially the artists who paint just for themselves, not the ones who do it just for money. ■ 223

B C

D A. Conceal 1 B. Innocence 2 C. Meditation 1 D. Meditation 2

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Pure

Melting boundaries

Kumar Gaurav with Dr Karan Singh

TOUCH OF SENSIBILITY AND SENSITIVITY Do situations play a part in the selection of colours?

Kumar Gaurav Qualifications: Fine Arts Diploma (Delhi Collage of Art), Pursuing Advance Course (Delhi Collage of Art) Exhibitions: Annual Exhibition DCA; AIFACS Art Gallery 2009; Positive Strokes, Convention Foyer, IHC 2009, Creating Balance, Convention Foyer, IHC 2009; Srajnaa, Epicentre, Apparrel House, Gurgaon 2009; Tatva, Foyer Art Gallery , IHC 2009. Event: Painting Workshop, Bal Mela, Nehru Planetarium 2009. Collection: Jammu & Kashmir Museum , Wall Painting, Teen Murti Bhavan, Nehru Planetarium 2009. Mob: +91-9811256765, 011-27306704 E-mail: kumarbhardwaj80@gmail.com kumarbhardwaj33@yahoo.com

Innocence 3

his young and talented artist has something unique in terms of his thought and works both. He has a sensitive mind and a creative brush and with these two powerful tools whatever he depicts in his paintings, project the reality and irony prevalent in society in different forms. He is an artist whose paintings sell whenever he exhibits them. Kumar Gaurav uses black and white colours in his paintings and he feels that both the colours are very exceptional and represent his identity in the world of art. He has done his Fine Arts diploma from Delhi ’s College of Art , Rajouri Garden . His collections are displayed at the Jammu and Kashmir Museum and his painting was purchased by Dr Karan Singh. He has carved a niche for himself in the world of art. Kumar is only 21 years old, but he can understand the plight of women very deeply and all his paintings revolve around their problems. He dislikes the difference between man and woman created by society because according to him a woman is also capable in her own stride. His vision is clear and his determination is strong The Lexicon Collection

and he wants to bring awareness and freshness in society through his work. Excerpts from an interview: Tell me something about your background. I was born and brought up in Delhi . The seeds of my creative talent were sown by my parents. Since my childhood had been making drawings, but after passing out of the 10th class, seeing my passion for art, my mother took me to the renowned artist Roop Chand. He was overwhelmed by my work and guided me along the right path. Under his guidance I got a chance to know about the details of art. I was an average student at school but used to participate in art competitions. So I took admission in the Delhi College of Art, and learnt art under the guidance of the renowned artist Ashwani K. Prithviwasi and that is how my whole perception has changed and I would say my life too, has changed and now I am totally involved in this field. You are using a very different technique to paint. How would you define this technique? I use the marble colouring technique in black and white. My medium is oil but showing

Antardhyan

transparency in an oil work is very difficult to create. All the faces and drawings have a transparent effect, which means that you can see every ring I have painted on the faces of the women depicted in my paintings. A painting technique has a lot to do with its subject matter and how the artist wants to portray the image of his subject. I don’t draw figures but simply work free hand, after thinking over the subject and visualising it. I then colour my figures and give them dimensions, by using rings. The current world crisis has forced me to choose black and white colours. With these two colours I can show the restrictions in human relationships and the situations prevalent in society in a vivid way. It is easy to differentiate between the positive and negative aspects of a woman life through such a colour scheme. This black and white series is particularly based on the upheavals of a stormy relationship. You have chosen rings as a symbol. Why? My paintings in a square shape, show all the aspects of a woman’s life, particularly the different stages of her life and the rings represent the trauma and pain she goes through. These rings are

the symbol of boundaries she is surrounded and chained with. These rings denote a storm. How have your viewers reacted to this sensitive theme (black and white)? They thought that it is a 3D effect and they were eager to touch those rings to know the reality about them. They appreciated my work and thoughts. What inspires you the most? Society and the relations inspire me the most. I feel, that to grow, you need to have a good relationship with your loved ones. These relations are very important for one’s survival and existence. What are you working on at present? Would you give us a preview? Currently I am doing a series in golden and blue colours. Both the colours are very rich and vibrant. The blue looks beautiful and the golden colour emits light. How do you see today’s art in comparison to the past? Earlier, art was not considered as a commercial The Lexicon Collection

market. But now with the growing economy and increasing art awareness, many individuals and corporates are venturing into this field professionally. Also, with the world shrinking by the day, the Indian art scene is going global. Nowadays artists are infusing imagination with realism and that is the reason that Indian contemporary art is much better and comes to be appreciated worldwide. How do you build such an interplay of emotions? I spend a lot of time on each work and I go through a large range of emotions by the time I complete one. My work is like a kaleidoscope of those emotions, materialise on canvas. What do you have to say about the commercial aspect of art? I think commercialisation is important for any field because if we don’t sell our work, how would we survive? But is good to a certain extent, one should be honest to oneself. An artist should maintain his individuality to retain the creativity ■ aspect. 225

Index Aasutosh Panigrahi-152

Asurvedh-80

Kalpana Mohanty Rai-198

Nawal Kishore Rastogi-64

Abha Agrawal-208

Badal Chitrakaar-22

Kamal Kishore Swatantra-192

Pankaj Mohan Aggarwal-42

Aditya Dev -90

Bhaskar Singha-186

Kumar Gaurav-224

Pawan Pagal-56

Aiyana Gunjan-220

Bijan Paul-72

Laxman Kumar-114

Pratibha Singh-146

Alka Bhrushundi-150

Prof. Biman Bihari Das-38

L.N. Rana-200

Praveen D. Upadhye-66

Amit Dutt-88

Brajmohan Arya-204

Madan Lal-148

Prithvi Soni-34

Anand Goswami-70

C. B. Rasaily-74

Mahammad Firoj Ali-206

Priyanka Sharma-196

Anil Sutar-58

Chander Shekhar-218

Mahendra Kumar Puri-52

Puja Sharma-174

Anil Tato-82

Dalip Chandolia-168

Mahmood Ahmad-136

Radhey Shyam-214

Anita Banerjee-54

Deepa Seth Bhando-210

Manju Narain-30

Ragini Sinha-112

Anita H. C.-50

Devajyoti Ray-188

Masarrat Khan-184

Rajesh Harsh-48

Anita Tanwar-166

Dhananjay Mukherjee-84

Mohan Singh-32

Ram Kishore Yadav-24

Dr Anjni Prasad-164

Dilawar Khan-194

Mohd. Ather Jafri-182

Ram V. Sutar-18

Ankur Rana-110

Dinesh Kumar Ram-128

Moinuddin Ghazali-134

Ramesh Terdal-116

Annu Naik-92

DP Sibal-40

Monika Verma-212

Ramesh Thorat-118

Anoop Kumar Srivastava-144

Haseen Ahmed-132

Mukesh Parth-46

Ravi Krishnan-178

Arup K. Biswas-124

Indu Mohan-176

M. S. Thakur-44

Ravinder Tomar-160

Ashwani Kumar Prithviwasi-98

Jagadish Dey-26

Nand Katyal-28

Ritu Manchanda-122

Roop Chand-162

Surekha Sadana-96

Sabia-156

Suresh Kumar-100

Sachin D. Naik-78

Timsi Gupta-142

Samiran Majumdar-76

Ved Prakash Bhardwaj-154

Sanjay Soni-106

Vigyan Vrat-94

Saswati Chaudhuri-108

Vijaya Ved-126

Sayed Arif Ali-190

Vijender Sharma-20

Seema Jindal-104

Vimal Chand-130

Sharmistha Dutta-158

Vinita Vasu-202

Sher Singh Kukkal-36

Vipul Das-86

Shikha Agnihotri-222

Vishnu Pawan-60

Shirish Kumar-138 Shobha Nagar-170 Shyam Porwal-140 Sneh Bhasin-102 Sunder Lal-62 Sunil Kumar Saini-180 Sunil Sawane-216