My World
In the initial phase of my visual art language, I had tried to understand the inevitable mysteries of nature. The thought was to express the emotion between the two Worlds of nature – her absolute presence and the truth in the very acceptance of it. The profound perception of nature remained far more important than her interplay of light and shade and the reality of objects.
In the second phase, besides my personal connection with nature, came the concept of ‘refuge for human life’ and interrelation with archaeology, myths and folklore; each with their individual essence created a concoction that manifested itself in the form of a grand saga, a fairytale – a world – unique and private.
Later on, with time, political unrest, homicides, oppression and the sources of deprivation – every note that hit the chord, became an integral part of it. Around this time, I tried to introspect death closely. Hours and hours of drawing and sketching in the dissection room gave birth to the ‘agony paintings’ and the consciousness of death. Helpless howls gurgling out of the wild scratches of paintbrush on the Japanese rice paper.
From this point, my language took a turn in search of the existential crisis outside the boundaries of archaeology and classical art practice. The meaning of life for the native Indian people, their existing eco-knowledge system, the fight for survival of the languages and practices amidst an existential crisis, their fight and right for their land – all these events became a part of my fights, my cultural uproar in this so called ‘multicultural homeland’ of mine.
I finally discovered myself in a parallel structure, outside the centrally programmed mainstream knowledge system. The conflict between the age old social relation, the concept of fertility, myth, belief, geographical consciousness, community based life and the so called concept of ‘nation and nationalism’ intrigued my mind.
The visual language and aesthetics of these native ancient tribes assimilated into my cognizance, in my visual perception. It was indeed tough to describe in words – no narrative seemed to be appropriate. Some engrossed and lost sadness or an overwhelming sense of joy recursed in my entire vision. An abstract transliteration replaced the signs and symbols. A quest to unveil the eternal mystery excited me. Apparently, it appeared to be meaningless – but it gave birth to the authority to express oneself where the sheer joy of creation overpowered the ‘whats’ and ‘hows’ of it. A quiet contemplation of the independent consciousness, a silent yet confident bow before the basic human instinct and genetic knowledge system
