Category: Art Achievers

The Bengal village has given us one of the outstanding creators in BIKASH PODDAR, Says, Subhra Mazumdar.

The way to the residence of artist Bikash Poddar, through one of the localities tucked behind commercial spaces of the capital city, is a far cry from his art leanings. Being surrounded by the hustle and bustle of daily living, with neighbourhood housewives clustered in front of their doorsteps, toddlers milling around, and men picking their way through vegetable vendors, corner shops and children at their street games, one would be led to believe that his art output would carry an impact of this phenomena. Yet his creations belie such circumstances, and instead offer a palimpsest of country living, opening up fold by fold, on his canvases. Hence at the first encounter with his practice, the viewer is taken aback by the spread of calm landscapes, depicted with soft brushstrokes, in the style of Chinese wash works, by way of comparison.

While the high-pitched exchanges carries on intermittently outside, one is struck by the spruce and well-ordered studio space, from within which, this slightly built, middle-aged artist, has been offering up his stunning creations. This curious contrast between his art making and his work environment, according to their maker, finds its muse, in his childhood upbringing in Kaliyagunj, a remote village in the Uttar Dinajpur district of West Bengal. And like any average rural set-up in the countryside, the study of Fine Art as a scholarly pursuit, was an unknown phenomena in these places. In fact, confesses the artist, Bikash Poddar and his kin did not even know about the existence of an art institution for learning art and seeking admission into it, was nothing short of a chimera.

But much before Poddar’s admission to the prestigious College of Art at Kolkata had come about, the child Bikash was completely taken up with his childhood surroundings. There was a patch of forested area behind his Kaliyagunj home and this slice of Paradise was grist to his artistic mill. No matter where he is residing or working, the imprint of those deep woods behind his childhood home, never fails to surface on his mental trajectory. Thereafter, memory becomes his subject of art making and lo and behold! A painting is born.

When it came to choosing art as his choice of professional studies, Poddar, surprisingly had not opted for a course in Fine Art at the prestigious Kolkata College of Fine Art. Instead, he had been admitted as a student in the five year course in Applied Art which he had mastered and emerged with brilliant recognition. However, even at this stage, painting was his hobby admits the master . With his formal education coming to an end therefore, his employability had taken him in the direction of the advertising firm Alfred Advertising Private Limited .

The work was in keeping with his education, where, using his computer generated skills, the young employee Bikash Poddar, spun out advertising campaign matter, every fortnight. While the work was somewhat far removed from his hobbyist inklings, the artist was scrupulously quality conscious as far as his output was concerned. But the urge to paint and share his creations with the viewers remained a persistent urge, that surfaced every now and then with relentless regularity. The need of the hour was to take a life changing decision and give way to his innermost urges, irrespective of the consequences.

The professional turned hobby painter took a somewhat untried path to make known his capabilities to the viewing public. Yes, it meant clearing a space on a public path a path that led to some embassy addresses and begin an on-the-spot demonstration of his works, as also his artistic skills at work Not only was this a rather unprofessional start point to a serious career in Art, it was also fraught with a complexity of mistakes, that would spell ultimate doom, however sincere the effort behind it might be.

But even when Poddar had adopted the tried and tested route to public attention as regards his creativity, his luck was no better. When he approached galleries with his work, there were no offers by them, for bookings. Elsewhere, the paintings were sent back as outright rejects. Hence there was no publicity in the Press about his art making. Thus the entire exercise of exhibiting his Art was being met with closed doors. But the urge to paint on his own terms had not dimmed, despite so much negativity along the route.

Then, as the saying goes: “No winter lasts forever; no spring skips its turn,” his individual case was no different. In 1999, a year that is embedded in his mental makeover, Poddar got his first response to display his artworks, at the prestigious Taj Art Gallery, in Mumbai’s Taj Hotel. There were enough footfalls to cheer his artistic heart as guests and regulars streamed in, to view his novel creations and fill their individual remarks in the Visitors’ Book. This show was soon followed by an offer from the capital’s Lalit Kala Akademi, India’s National Academy of Art, to display his artworks at the Rabindra Bhavan Gallery on their premises. Thus these initial recognitions from places of repute gave way, expectedly to more interest in his art making. Before long, Poddar was receiving enquiries for his workmanship from gallerists, in cities like Hyderabad, Bombay, Delhi, Kolkata and Baroda, to name a few. And while many an art maker would begin to rest on his laurels and develop a signature style of Art, the young Poddar ventured into every exhibition with the conviction that his works should be different from the works of others, in terms of technique, besides their subject matter.

And to this day, Poddar recalls his interaction with his first buyer, a Mrs Gupta, who had acquired his art a quarter century ago. “It was an exhibition on the premises of the Embassy of Japan in India, when this art lover had acquired my work for her personal space.” Naturally the subject of the painting too, is etched in his memory as an ever fresh experience. “It was the painting of a bird in flight across the open countryside, on a two-by two feet canvas spread; a black and white artwork, that is still fresh in my thoughts.”

Yet on the other hand, there was no denying the fact that while he was suffused with elation at the recognition that his works were receiving, he was also conscious of the chasm of ignorance he was under, regarding the process of painting. In all sincerity, Poddar admits, “I had nograsp of what is painting. I was in need of education as also assistance to fathom the grammar of painting, the requirement of neatness in the work and the all-important need of a meticulous finish to an artwork. Besides these external requirements, the works needed to exude my capability of balancing the different inputs in the work, the compositional strengths in the entire work and by far, the need to maintain an ever vigilant eye on quality consciousness, in the finished product. These above tenets made me imbibe the habit of assessing my output with a critical eye every six months to one year. In fact, I am still a learner.”

As to what makes his art so appealing to the viewer, Poddar puts it down to his well-researched and unique technique of painting. What he informs his viewers is that the entire process is undertaken with the precision of a scientist in readiness for an important experiment that is headed in the direction of a discovery? Known widely for applying the wash technique of water colour onto the canvas surface, via a self- evolved technical expertise, he freely admits that it is the task of keeping the canvas surface moist, by placing it on a board. In-between, when the surface looses its required moisture, the artist revisits his process of water application, taking care to control the flow, from the sides of the canvas. This process lasts for the maximum period of an hour, and since he is an early riser, it is usually around 4.00 a.m. that the work of the master begins.

Interestingly there is no prior sketching on the surface, and as he pours colours with his expertise, he also tilts the canvas, with studied control. This is how the imaginary landscapes, harking back to his days in the village and the jungle surround, come to surface on the works. Then when he introduces a figurative inclusion on them, he resorts to using the drawing pencil, for the faintest of strokes.

All his technical exercise is preceded by a pre-process of due contemplation. Thus the order of placement of every item and colour combination on the surface, is mentally sketched prior to the actual visible strokes and washes. Then there begins a controlled flowing of colours, so that the end result, is a precise execution and not a figment of imagination yielding surprising outcomes.

Not just the colour control, the subject that the master intends to paint are also predestined and the color for them pre-ordained in a way, as the painter sees the image mentally, before the product takes shape on the canvas.

And this is not all: “Sometimes if I am not satisfied with the output, I resort to corrective measures and this might take up hours of work, into the late hours.” But these incidents of drastic correctional routine is according to the mental picture of the work in the painter’s inner trajectory, and before the product takes shape on the canvas. And this is not all: “Sometimes if I am not satisfied with the output, I resort to corrective measures and this might take up hours of work, into the late hours.” But these incidents of drastic correctional routine are few and far between, as the years go by, he admits.

Curious to know more about his painting process, invariably leads visitors into queries about his favoutrite themes. While the artist anchors the beginnings to his native village and its surrounds, today, the range has not shifted drastically, for he sums up his themes for Art making in the words…”nadi, pahaar, pukur, maatir ghar, bamboo, figures in singles and in conversation, domestic animals and pots and pans, that help to imbibe atmosphere into my work.” Hence it is his rural beginning that have provided an inexhaustible wellspring for his creative energies and have led to an emergence of a imaginative look at rural Bengal in all seasons, ranging from the season of lashing rains, to cloudy days, to times of sunset and sunrise, scorching afternoons and soothing twilights. In the figurative category, it is the feminine form that takes precedence in the thinking stage. But there is never any forced inclusion in the work. “I often recall a scene in a Satya Jit Ray film shot where a small intervention in the placement says a million words. In my case too, taking succour from such ideas, I place as few people as possible and interpret each figure’s presence on the surface, in a different light.”

And like any an art maker, Bikash Poddar too, has delved into a few asides in his art making process. These include making well defined artworks with found objects, like a water carrier poised in the act of carrying his load, using a piece of found wood. In his studio space theye rests on a handful of sculptures of facial forms, complete with intricate finery and adornments, or even an arrangement of artifacts and reading matter, where he is at ease seated on a floor mat, while the room is spaced out with greenery, books, a sofa-bench and plenty of light streaming into the room. In these modest surroundings, it is all the more inspiring to realize the depth of /poddar’s art making expertise. While he has built up a substantial collective of art collectors world wide, as also a considerable of admirers who gasp at his workmanship when Face to face with it, what the artist cherishes above all, is none of these. For him, the pleasure lies in his being an Indian artist who has pioneered the wash technique on acrylic works, on home ground, and till date, according to the artist, he is the sole ‘ferreter’ of it on the Indian art scene.

Thus the persona and the artworks executed by the artist, have a deep-rooted relatedness. They are not conjoined twins: nor are they combined forms; they are individual art renderings, that speak to viewers on many levels. At one point they engage viewers by their unusual technique; at other levels they harken the rural connectivity as a long remembered afterthought. At still other levels they are impressive by their meticulous execution, and elsewhere they bring forth the pull of memories, from a little village in rural Bengal where a family that had no links with Art, has given us one of the outstanding creators of our time. His works therefore and his journey in art making are a cause of celebration and recognition in matters of all that exists under the umbrella of Fine Art.

Meet Pranav Lal, The Visually Challenged Photographer.

In a world that often connects success with the various aspects of physical ability there is no dearth of real life stories of individuals who defy these expectations. They are both inspiring and transformative. Pranav Lal, a blind photographer from Delhi, is an epitome of this spirit. Despite being visually challenged since birth, Pranav has embraced photography asa means to explore the world in ways that many can only imagine. His journey not only highlights his unwavering determination but also serves as a powerful reminder of the resilience and creativity that can arise from adversity.

Pranav Lal’s story is a captivating exploration of passion and perseverance. As a cyber-security specialist, his day job involves navigating the complexities of technology. Yet, it is through the lens of a camera that he finds a deeper connection to the world around him. His photographs, rich with emotion and texture, challenge perceptions of beauty and capability. Join us as we delve into the remarkable journey of Pranav, a blind photographer who has made an indelible mark on the art of capturing moments that resonate with all of us.

Pranav Lal’s venture into photography began during a honeymoon trip to Mauritius, a picturesque island renowned for its stunning landscapes. While admiring a scene where a strip of cloud gracefully cut across the sun, casting shadows over a dormant volcano, Pranav was struck by a revelation. The moment was beautiful, and he wanted to capture it—not through sight, but through an experience that was uniquely his own. With his wife, Sacheta, by his side, Pranav’s heart raced with the thrill of wanting to document what he felt in that moment.

Pranav realized that photography doesn’t just have to be about what he can see. He deciphered, it’s about the feelings and the stories one wants to tell. It’s his desire to perceive what he can’t touch that drives him to explore photography in ways that challenge conventional notions of visual art. Pranav’s unique perspective and unconventional approach to photography is deeply rooted in sensory experiences. He relies heavily on sound, touch and the insights of those around him to shape his artistic vision. For him, the rustling of leaves, the sounds of waves crashing on a shore, or the laughter of children playing in a park can evoke imagery that he translates into his photographs. This connection to the environment becomes a foundation for his work, allowing him to create images that are rich in emotion and texture.

One of Pranav’s most cherished photographs captures a scene in a bustling market. Although he could not see the vibrant colours of the fruits or the intricate designs of the clothing, he described the sounds of chatter, the scent of spices wafting through the air and the energy of the crowd as they moved through the stalls. He asked a friend to assist him by describing the scene, noting key details that would help him frame his shot. The result is a captivating image that evokes a sense of life and movement, inviting viewers to experience the market through Pranav’s unique lens. Pranav’s journey has not been without its challenges. Photography, especially in the digital age, often relies on technology that can be daunting for someone with visual impairments. However, Pranav has embraced these challenges, learning to navigate various devices and software with determination. He uses voice-activated cameras and apps that help him understand the settings and adjust them according to his needs. This adaptability has not only enhanced his photography skills but has also sparked a passion for technology that complements his work.

His experience in cyber-security has helped him understand technology better. It has made it easier for him to explore new tools that enhance photography, allowing him to push boundaries and experiment with different styles. Pranav’s tech-savvy nature allows him to stay updated with the latest developments in photography equipment, which further enriches his work.

Pranav is not alone in his pursuit of photography. He is part of a growing community of visually impaired photographers in India, all of whom share a common goal: to redefine what it means to capture beauty. Organizations and support groups have emerged, providing resources, workshops, and platforms for these talented individuals to showcase their work. Through these communities, Pranav has connected with others who share his passion and vision. They exchange tips, techniques, and encouragement, fostering an environment where creativity thrives. This camaraderie has been instrumental in helping Pranav grow as an artist, as he learns from the experiences of others while sharing his own unique perspective. Pranav’s story is an inspiring testament to the power of pursuing one’s passions, regardless of obstacles. By sharing his journey and showcasing his work, he aims to challenge societal perceptions of disability and creativity. He hopes to inspire others—both those with and without disabilities—to pursue their passions fearlessly.

Pranav wants people to understand that limitations are often self-imposed. Everybody has challenges to face, but it’s how one approaches the challenges that defines people. Pranav’s photographs have been featured in various exhibitions, drawing attention to the incredible capabilities of individuals with disabilities. His work continues to resonate with audiences, inviting them to see beyond the surface and explore the deeper meanings behind each image.

He is committed to using his platform to advocate for inclusivity and representation in the art world, urging galleries and institutions to recognize and celebrate the talents of disabled artists.

As Pranav continues to develop his skills and explore new techniques, he remains dedicated to his craft. He dreams of one day hosting a photography exhibition that showcases the work of visually impaired artists, highlighting their unique perspectives and experiences. He wants to create a space where people can come together to celebrate art in all its forms, where everyone feels included and valued.

In addition to his artistic pursuits, Pranav is also focused on raising awareness about the capabilities of people with disabilities. He hopes to collaborate with organizations that promote inclusivity in the arts, helping to create opportunities for others to share their stories and talents. Through workshops and mentorship programs, he aims to empower aspiring photographers to embrace their creativity, regardless of their circumstances.

Pranav Lal’s journey as a blind photographer is a powerful narrative of resilience, creativity, and passion. His story serves as a reminder that beauty transcends physical limitations and that creativity can flourish in the most unexpected places. As he continues to explore the world through his lens, Pranav invites us all to broaden our understanding of what it means to perceive, create, and share art.

Through his captivating images and unwavering spirit, Pranav is not only capturing moments, he is redefining the very essence of photography. His work challenges us to look beyond what is visible and appreciate the depth of experience that lies within each of us. In doing so, he reminds us that art, in all its forms, has the power to connect, inspire and transform.

Ashok Kumar Biswas’ herculean task of reviving the ancient art has borne fruit. Kavita Kanan Chandra interviewed the Padma Shri awardee at his home in Patna. She also visited a village near Danapur, one of the many centres, where he teaches Tikuli art for free to women.

As you step into Ashok Kumar Biswas’ house, you find several paintings and utility items made of Tikuli art everywhere. Numerous awards adorn the shelves, including the coveted Padma Shri award, spanning over five decades of his artistic journey. He fondly recalls his first exhibition abroad in Seoul in 2008, when visitors were curious about an art unheard of then. It’s the people’s appreciation and Biswas’ dedication that Tikuli art is now a part of the ‘Make in India’ and ‘One District, One Product’ movements. “Our culture would be known throughout the world through our folk art”, says Biswas, who brought global recognition to it.

An artist, a teacher

His artistic skills, dedication and contributions to Tikuli art are exemplary. Since 1991, he has trained more than eight thousand women for free, to paint Tikuli art on utility items and make it commercially viable. Biswas teaches the girls and women in villages near Danapur. He instructs a bunch of students in a friendly way- how to draw the nose with a curve, a line there, a dot here so the image of a woman should be in the right proportion.

“The girls come with pure heart, taking time from household chores, working on farms or studies,” says Biswas. “The folk art should be simple, taught to many, should have economic value so that it survives and prospers”, he quips. Through exhibitions or his enterprise ‘Sona Art Unit’, he sells Tikuli art products made by needy women, at a narrow profit to ensure constant orders, thus empowering women. From trays to coasters, over 22 lakhs of Tikuli art products have been sold to date. He has training centres around Patna, conducts workshops and trainings across India. “It’s like the branches of a tree, the art spreads,” says Biswas.

Oeuvre of work

His oeuvre of work is vast- from themes on mythologto contemporary subjects. His canvas is not limited to wall-mounted paintings but extends to utility items. “If the rich cultural heritage of India is showcased through Tikuli art, why not its contemporary spirit?” There are exquisite paintings of Chhath puja, Ramayana, Mahabharata, Krishna and Hanuman Chalisa. His latest work, ‘Unity in Diversity’, shows India’s integrity despite its diversity and its progress in modern technology.

Early life

Hailing from East Bengal, Biswas’s grandparents settled at Majdia village in Ranaghat in West Bengal. His father, Devendranath Biswas moved to Dehri-on- Sone in Bihar, to work as a compounder in a local hospital. Born on October3, 1956 in Dehri-on-Sone, Biswas’ childhood was mired in financial struggles. His mother tried to supplement family income by tailoring work but with seven children, it was not enough. Biswas recalls how he had only one pair of shoes to wear to school and no slippers until class fourth. He moved barefoot till he got his first pair of ‘Hawai Chappal’. “The memory remains etched in my mind when once I had to walk to the market on a scorching summer afternoon, my feet would burn. I would run from tree to tree, cooling my heels under the tree’s shade then run to take shelter in another,” Biswas recalls wistfully. The deprivation of childhood made him yearn for some money. From seventh class he started painting signboards and banners, becoming adept with paint and brushes.

Education

Despite modest means, Biswas’s schooling went off well because of nominal fees in local missionary and Government-aided schools. Hestudied at Elim Bengali Missionary School, and Gandhi Middle School and passed matriculation from Dehri High School in 1973. Financial constraints forced him to appear for the IA exam as a private candidate in 1975, but his academic excellence got him a full free ship to pursue graduation from Nehru College. Blessed with a flair for art, he was spotted by a designer, G P Bakshi, and got to learn Tikuli art for free at eminent artist Upendra Maharathi’s Shilpa Anusandhan Sansthan in Patna. In company with artists T K Sengupta and Lal Babu Gupta, Biswas honed his artistic skills.

Once in an exhibition in Mumbai, all of Biswas’s paintings were sold within three days. As demand grew, Biswas taught Tikuli art to his friends and family. The 1982 Asiad Games was a turning point when Biswas Tikuli paintings were gifted to sportsmen as official gifts by PM Indira Gandhi, after which Biswas never looked back. Meanwhile, Biswas topped the Employees State Insurance Corporation exam in Bihar and got employed as an assistant in Dehri-on-Sone. “The best part of home posting was that I could continue Tikuli art unhindered,” said Biswas.

What is Tikuli Art

Tikuli art is a form of hand painting, originating in Patna, derived from the colloquial ‘bindis’ – colourful dots, worn on the forehead of women. Biswas explains that Tikuli art is much more than bindis, it is time-consuming and intricate.

Historically, no records exist but the female sculptures excavated during the Mauryan period had tikulis, cites Kautilya’s Arthshashtra. It thrived during the Sunga, Gupta and Pala periods, and gradually declined. However, a few artisans in the localities of Lodi Katra, Diwan Mohalla and Malsalami Mohalla of Patna carried on as a cottage industry, not as an art.

Traditionally tikulis were made of gold or silver, on glass. It was a collaborative effort between Muslim males, who melted the glass and cut it into shapes, and the Hindu males cut gold foil and pasted it onto glass pieces. The artistic engravings were done by Hindu females using fine bamboo sticks.

So, the present Tikuli art has genesis in Tikuli even though its form has drastically changed. In the 1950s, the tikulis transitioned to creative works of art on glass pieces, using the same laborious process. Lal Babu Gupta, whose ancestors did Tikuli work, made spectacular artwork of Goddess Durga in 1950.

The present Tikuli art follows the Japanese craft but the style and content are inspired by Patna Kalam, Rajasthani miniature painting and Mithila painting. The recurring themes of Tikuli art are traditional encompassing Hindu religion, festivals, culture, rituals and ceremonies.

“We follow the technique of Patna Kalam to add intricate detail to the paintings. Just as the human figures are presented in Patna Kalam with correct body proportion, it is in Tikuli art,” says Biswas. It was Padma Shri Upendra Maharathi, who replaced glass with wood and used enamel paint, inspired by Japanese artists and encouraged Tikuli artists in Patna to follow.

Stages of development

The survival and proliferation of the Tikuli art lies in its adaptation to changing times. Biswas enumerates the five stages of the development of Tikuli art. From the original Gold on glass pieces of Tikuli to wear on foreheads, the second stage was tikuli art on gold foil on large pieces of glass, the third stage in 1955 introduced enamel paint on the glass while the fourth stage in the 1960s replicated the Japanese craft of enamel paint on wood pieces. In the fifth stage, Biswas introduced enamel painting on hardboard and MDF (Medium-density fiberboard). Now a few of his students are experimenting Tikuli art on fabric. Inspired by acclaimed artist Jamini Roy, Biswas keeps Tikuli art simple for people to follow. The preparation behind the art, however, remains cumbersome. The carpenters have to cut the hardboard or MDF into round, square or rectangular shapes and enamel is applied with a flat brush.

Now charcoal has been replaced with water paper to achieve a smooth and shining surface after four successive coats of enamel and a waterproof surface. It takes 15 days to prepare a board and painting too is time-consuming.

“We first sketch on paper and transfer it into tracing paper. We apply chalk on the back of the tracing paper, put it on the hardboard and apply pressure, so the outline is transferred on it. Drawing is done freehand and painting with a double zero and a triple zero brush.” We paint on the dark brown board with red, yellow, blue, green, orange, black and white colours.

Lifelong dedication to art

Together with his wife, Shivani, they continue to propagate the folk art of Tikuli and also pave the way as a means of livelihood for many women.

Notable Awards

Padma Shri Award 2024
The Gold Medal at the IHGF Delhi Fair in 2020
The Kala Shri Award in 2009
Bihar State Award in 2008
Appreciation awards by the Government of Bhutan at the 9th SAARC fair
Display of Tikuli art
The Bihar Museum
The Bihar Chief Minister’s office
Eastern Zonal Cultural Centre
Ministry of Culture of the Government of India and others.

Events:

The National Art Fair was organized by Lalit Kala Academy, Dilli haat, the Handicraft Fair in Kathmandu, Taj Mahotsav in Agra, and the Indian International Trade Fair in Delhi.

The show aimed to capture the essence and spiritual richness of Banaras.

Uchaan Arts showcased the works of Paramesh Paul in the exhibition titled Eternal Heritage. The show held at the Open Palm Court, India Habitat Centre, in New Delhi continued from September 5, 2024 to September 8, 2024. The exhibition made an effort to capture the essence and spiritual richness of Banaras, one of the oldest cities in the world, taking visitors on an ethereal journey into the heart of India’s cultural and spiritual heritage.

Eternal Heritage tried to explore the timeless allure of the pilgrimage city through Paramesh Paul’s artistic lens. The city’s ancient ghats and temples stand as enduring symbols of a heritage that transcends time, to celebrate the deep-rooted traditions that continue to inspire contemporary life. It highlights the unique identity shaped by the continuum of spiritual and cultural practices intrinsic to Banaras.

Born in 1970 in a West Bengal village, Paramesh is a self-taught artist who was seeped in a rich tradition of pottery and craft from an early age. His artistic journey began with creating clay sculptures of deities. Today, his works draw heavily from traditional Hindu iconography, featuring elements such as the Nandi Bull, Lord Shiva, the Ganges River and the sacred temples that define the landscape of Banaras. His vibrant paintings are a fusion of mythology and contemporary expressions, embodying a deep metaphysical connection with his subjects. Through his art, Paramesh examines the relationship between people and nature, exploring how individuals transcend the challenges of everyday life to seek a higher spiritual existence. His experiences in urban environments have deepened his understanding of modern complexity, informing his creative process. Paul believes that art should resonate on a personal level with ordinary people, which is evident in his multi-layered, mystical compositions.

His dedication to portraying relatable imagery speaks volumes about his love for life and the environments he depicts, particularly religious centres in India. Banaras holds a special place in his heart, alongside other sacred sites such as Haridwar and Rishikesh. Water, especially the Ganges, frequently emerges as a dominant theme in his artwork, symbolizing life, spirituality, and continuity. In the show Eternal Heritage, Paramesh Paul invites audiences to witness the Intertwining of spirituality and art, offering a glimpse into the enduring allure of Banaras and the traditions that inspire his work.

Next Exhibition at Kamalnayan Bajaj Art Gallery from Monday, 25th November to Saturday 30th November, 2024 daily 11:00 a.m. to 7:00 p.m. by Paramesh Paul.

Sarojini Datta honed her artistic skills after her husband’s demise at 50, turning her solace into opportunity.

Sarojini Datta, a visual artist from Noida, epitomizes the idea that “art washes away the dust of everyday life from the soul.” Her journey in the art world took root during her formative years, nurtured by the encouragement of her teachers at Mater Dei School in Delhi. While she initially pursued a degree in Psychology at Lady Sri Ram College—largely due to parental expectations— her passion for art remained a constant presence in her life.

After marrying an Air Force officer and devoting most of her time to the family, Sarojini sought creative outlets that allowed her to express her artistic instincts. She painted baby clothes, undertook commissioned canvas projects and designed backdrops for school productions, all the while managing her responsibilities as a wife and mother. Despite adhering to societal norms and expectations, the longing to paint and share her work remained alive within her.

A significant turning point came with the loss of her husband at the age of 50. While this event was profoundly heartbreaking, it paradoxically opened a gateway for Sarojini to re-engage with her artistic passions. With reinforced determination, she began to immerse herself in the world of art. She invested in supplies, studied various techniques and embarked on travels to over 42 countries, where she created artworks inspired by her experiences in each new locale.

Her artistic style predominantly embodies realism, employing a range of mediums including acrylics, pastels and her current favourite, water colours.

Sarojini’s vibrant colour palette is intentionally designed to uplift the spirits of viewers while evoking feelings of nostalgia, inviting them to experience her journey. A practitioner of Nichiren Buddhism, Sarojini draws considerable strength from her spiritual beliefs, which highlight the innate goodness within every individual.

This framework supports her creative endeavours and helps to maintain resilience in the face of life’s challenges. In 2020, after waiting for 44 years, Sarojini realized her dream of holding a solo exhibition, an accomplishment that was bolstered by the encouragement of family and friends. Over the past 15 years, she has participated in more than 30 group exhibitions, gaining recognition for her work, including an honourable mention in a competition hosted by the Hindi daily, Dainik Bhaskar. At 69, Sarojini’s life is fuelled by an unquenchable curiosity and maintaining a desire for continuous growth. She firmly believes that each day presents new opportunities for discovery, allowing her to constantly evolve as an artist. Her creative output remains a testament to her resilience, and passion for life, echoing her sentiment that she has “miles to go before I sleep.” As Sarojini reflects on her artistic path, she recognizes the significant impact that both joy and hardship have had in shaping her work. Every brushstroke is infused with the experiences and emotions she has encountered throughout her life. Her journey reflects a tapestry of triumphs, trials, and an unwavering commitment to her art. In a world where many may overlook the therapeutic nature of creativity, Sarojini exemplifies the transformative power of art to inspire both the creator and the observer.

Through her works, she invites audiences not just to view her art, but to connect with their own life stories, reminding them of the beauty that can emerge from adversity. As she continues to explore and express herself through her art, Sarojini Datta remains a beacon of inspiration, demonstrating that it is never too late to pursue one’s passions and share them with the world. Her journey is a vivid reminder that art is a profound force for healing and connection, providing solace and joy in an often tumultuous world.

• Artists, designers, illustrators and photographers incorporate animals as subject matter in their work.
• Rafael Mantesso turned to art as a mechanism to cope with depression.
• “There are lots of contemporary artists out there doing dog-themed artwork.”

A delightful and unique exhibition inspired by dogs that opens a wide range of artistic creative possibilities, from playful and whimsical to evocative and reflective. It is intriguing to witness artists, designers, illustrators and photographers who incorporate animals as subject matter in their work. Jannie Parrish who conceived the idea for the exhibition called A Dog’s Life said, “There are lots of contemporary artists out there doing dog-themed artwork.”

The 20-21 Visual Arts Centre in Scunthorpe is a great venue for showcasing diverse work. One of the most phenomenal artists featured was Sophie Gamand, a French artist based in America. Miss Parrish said, “She makes paper flower crowns, which she puts on pit bull dogs and then photographs them. These are homeless pit bulls in shelters, and she’s been instrumental in finding home (for them).”

Rafael Mantesso, a Brazilian artist featured in the exhibition, turned to art as a mechanism to cope with depression following his divorce. He started creating illustrations around his bull terrier, Jimmy Choo, in his all-white apartment. This creative project not only helped him recover but also led him to instagram fame, gaining the attention of many with his imaginative and heartfelt artwork. Miss Parrish explained, “He has an all-white flat and he ended up drawing pictures around the dog, illustrations. And then he became an Instagram sensation.” The exhibition also showcases ceramics by Martha Todd, which dives into people’s fascination with dressing up their dogs. Further, David Shrigley, a British artist known for his cartoon-style doodles and sketches, has contributed his distinctive work to the collection.

Renowned artist makes his debut in UAE showcasing 66 paintings of Lord Krishna.

Renowned Indian painter Padmashree Krishna Kanhai recently organized an art exhibition in Dubai, marking his fifth international exhibition and his first in the UAE. The exhibition, held at the prestigious Hotel Taj Business, featured 66 paintings predominantly depicting Lord Shri Krishna. The event was inaugurated by Mr. Satish Kumar Sivan, the Consul General of India in Dubai, who lit the ceremonial lamp to commence the exhibition. The grand opening saw the presence of hundreds of visitors including a large number of people from the Hindu community and various other communities, reflecting the widespread admiration for Kanhai’s art.

This show was particularly significant as it was the first time in Dubai’s history that an exhibition dedicated to Hindu Gods and Goddesses was organized. The event received immense support from the local community and notable individuals such as Rohit Pal Sharma from Mathura, Banjul Badil from Meerut, and Vikrant Nigam from Dubai, who played important role in making the event a success.

The three-day exhibition, which ran from May 31 to June 2, 2024, garnered significant attention and drew a large number of visitors. One of the distinguished guests were Shri Brahmvihari das Ji, of the newly constructed Akshardham Temple in Abu Dhabi. The temple, which was inaugurated by Prime Minister Narendra Modi on February 14, 2024, has become a symbol of cultural and spiritual pride for the Indian community in the UAE. Shri Brahmvihari Das Ji’s presence at the exhibition added to its prestige and highlighted the cultural connections between India and the UAE.

The exhibition was like a pilgrimage for Krishna Kanhai, who was accompanied by his wife Kusum Kanhai, his son Arjun Kanhai, daughter-in-law Megha Kanhai, and Aaradhya Danwar. Their presence underscored the personal significance of the event for the artist and his family, who have been Lord Krishna devotees and deeply involved in his artistic journey.

In recognition of the successful organization of this exhibition, Prime Minister Narendra Modi sent a congratulatory message to Padmashree Krishna Kanhai on April 24, 2024. The letter from the Prime Minister was a testament to the importance of the event and the high regard in which Kanhai’s work is held at the national level. The Prime Minister’s acknowledgment served as an inspiration and a proud moment for the artist, his family and the entire organizing team.

Krishna Kanhai’s paintings, known for their vibrant depiction of Hindu deities, particularly Lord Shri Krishna, have gained immense popularity not only in India but also internationally. His exhibitions have been celebrated for their artistic excellence and cultural significance, making him a revered figure in the world of art. The Dubai exhibition was a milestone in his career, showcasing the rich heritage of Indian art and spirituality on an international platform. The success of this exhibition in Dubai has further established Krishna Kanhai’s reputation as a leading artist whose work transcends cultural boundaries. It also highlighted the growing appreciation for Indian art in the UAE and the potential for future cultural exchanges between the two nations. As the curtains closed on this landmark event, it left a lasting impression on all who attended, celebrating the timeless beauty and spiritual essence of Krishna Kanhai’s art.

The passing of A. Ramachandran and Gogi Saroj Pal has created a void that can never be filled.

The year 2024 had a sombre start. The Indian art fraternity lost two great artists. Art Soul Life pays homage to the great artist A. Ramachandran Nair and Gogi Saroj Pal for their immense contribution to Indian art and their significance in shaping and influencing art universally.

Achutan Ramachandran Nair

A painter and a sculptor Ramachandran were born in 1935 in Attingal in Kerala where he embarked on his artistic journey. Captivated by the ancient murals adorning temple walls and mesmerized by the vibrant performances of Kathakali, his thought process was deeply influenced by traditional Indian art. However, it was not until he completed his studies at Santiniketan that Ramachandran experienced a breakthrough, creating paintings inspired by the legend of Yayati in the mid-1980s. This narrative from the Mahabharata, where a king in his old age asks his son to grant him youth to indulge in worldly pleasures, unfolds in a contemporary setting in Ramachandran’s work. His paintings are rich with lush vegetation, wildlife, and graceful women, with lotus ponds symbolizing fertility and feminine energy, adding a dynamic element to his narrative.

Ramachandran’s comprehensive overview encompassed murals, intricate miniatures, etchings, sculptures, and book illustrations, along with his design of stamps. He embraced life fully, dedicating much of his time to artistic pursuits and engaging with people with a touch of humour.

For many decades, the lotus pond remained a cherished theme in both his paintings and drawings. In contrast, his sculptures showcased tribal totem-like symbols—a singular pillar-shaped figure, intricately stylized with ornamental linear designs crowning it. This inspiration most likely stemmed from his keen observations of rural Bengal’s inhabitants working in paddy fields, an activity Ramkinkar Baij encouraged all students to undertake at Santiniketan. This was melded with his research on Kerala temple art, resulting in the creation of emotive artworks.

In 2002, he was elected a Fellow of Lalit Kala Akademi, and in 2005, he was awarded the Padma Bhushan, India’s third highest civilian honour, for outstanding service to the nation. In 2013, he was conferred with an honorary doctorate by Mahatma Gandhi University, Kerala. He is survived by his wife Chameli (Tan Yuan) Ramachandran.

The extensive collection of bronze sculptures exhibited in Delhi last year not only showcased his craftsmanship but also revealed a keen vision honed over years of striving for excellence. His passing on February 10 at the age of 89 due to a kidney ailment leaves behind a profound legacy characterized by life’s abundance and his unique experiential perspective. Ramachandran was not just an extraordinary artist but also a visionary who left a lasting legacy in the world of art. His passing marks the loss of a significant figure who made substantial contributions to the art community.

Gogi Saroj Pal

Renowned for her bold use of colours and unique artistic style, Gogi Saroj Pal passed away at her Delhi home on January 27, 2024 at the age of 79, leaving behind a legacy of groundbreaking artistry. She was celebrated as the ‘first feminist artist of India’. Gogi Saroj Pal was born on October 3, 1945, in Neoli, Uttar Pradesh, just two years before India’s independence. She belonged to a family from the Kangra Hills in present-day Himachal Pradesh, known for their involvement in the freedom movement. Her uncle, Yashpal, was a well-known Indian freedom fighter and Hindi-language writer.

Gogi inherited a natural inclination towards defiance, almost as if it were in her genes, which was reflected in her works, especially the nayikas (heroines). Her artistic focus on the feminine force is evident in many of her paintings, where women take center stage. Gogi Saroj Pal was known for her miniature nayikas that blended traditional themes with modern feminism. Her figurines, often depicted in a naked yet expressive manner, gazed back at viewers with large, graceful eyes, silently conveying inner desires.

Gogi was a master of various mediums including acrylic, oil, gouache, weaving, ceramics, and lithography. She reinvented Indian myths, infusing them with a feminist perspective, and her artistic genius earned her acclaim worldwide. She shared her expertise by teaching Fine Arts at Women’s Polytechnic and College of Art in New Delhi, and also delivered guest lectures at Jamia Millia Islamia in New Delhi. Gogi Saroj Pal’s exploration of women’s lives, desires, and the enigmatic realm of femininity has created a lasting artistic legacy.

From her early series such as “Being a Woman” to more recent ones like “Kamdhenu” and “Dancing Horse,” her body of work reflects her unwavering commitment to addressing societal challenges and highlighting the resilience of women.

Gogi Saroj Pal’s “Being a Woman” series indeed delves deep into the societal roles and challenges faced by women, often portraying them in powerful and symbolic contexts. One of the paintings, depicting a woman in a crucifixion-like pose, is a poignant reflection of the pain and struggles that woman endure, drawing parallels to historical and religious narratives. Pal’s ability to convey such profound themes through her art is a testament to her skill and vision as an artist. Her recognition with awards like the National Award from Lalit Kala Akademi further solidifies her impact on the art world. While her passing has saddened the art world, her influence is expected to endure for years to come.

The 15 participants tried to explore the connection between life and the spiritual realm.

The art group titled Journey brought together a group of prominent, award-winning artists who interact with the outer world through the lens of creativity. The group show, titled Dekho, was indeed a feast for the eyes. From trying to capture the fragmented reality to challenging the social issues that plague the lives of those living on the margins, the artists solely relied on their colour and brush to do so and have done complete justice to it. There were14 participating artists and a sculptor who tried to explore the connection of life with the spirit, the mortal with the immortal and the self with the universe. The exhibition was held in AIFACS Gallery, New Delhi from February 9 to February 15, 2024.

While some have infused life into the landscapes portrayed by them through the use of bright colours, others have explored spatiality through the emotions associated with it. Some artists have focused on material reality and have thus rendered the dimensional differences between a sculpture and a painting. It is indeed a considerable feat by the 15 participants to bring together nature, culture, materiality, and emotions on the same platform.

A look into the participating artists and their works:

Manoj Deb: With musical and art talent combined, Deb’s love for art takes over his love for tabla. Trained as a graphic artist at the Indian Art College, he has ruled the world of advertisement. However, he has also exhibited his paintings at renowned galleries all over India, as his love for abstract painting has always been alive.

Santanu Sarkar: Sarkar speaks through his art in eloquent silence. His artistic process consists of holding conversations with his paintings. Even though his paintings never respond back in human language, they do so by breaking the boundaries of language. After graduating from Rabindra Bharati University, he has exhibited his paintings in several exhibitions.

Rita Datta: Datta brings together poetry and art in her paintings. After completing her graduation and fellowship, Dutta has participated in several art exhibitions.

Kangkan Barman: Barman considers Rembrandt his lifelong mentor, and just like the Dutch genius, Barman tries to depict a variety of subject matters, from nature to city life to human life. After completing his master’s, he has exhibited his paintings at various art exhibitions.

Prasenjit Shaw: Shaw’s paintings are inspired by the Abstract Expressionism movement, and one can see that spontaneity and control over hues are equally present in his paintings.

After completing his masters in fine arts, he has exhibited his paintings at several art exhibitions.

Tuhin Ghosh: Ghosh uses lines with vivid hues to capture nature in fragments. His experience and memory of nature provide him with fuel for creativity. Using the technique of line drawing, he highlights the contrast between reality and the abstract. Ranajit Kumar Ghorai: With double degrees in fine arts from Visva-Bharati, Ghorai’s sculptures transcend the material reality of his artwork and enter the realm of life. The sculptures themselves capture the slow transition from an everyday object to an embodiment of a living being. The spirit of creativity in the artist manifests itself through his focus on fecundity and sexuality.

Sanjeev Shashwati: Shashwati’s upbringing in the grassroots presents itself in the form of art capturing the quotidian. Using media like pen, pencil, and colour on a variety of surfaces, he captures the social issues that plague the lives of those living on the margins. He also doesn’t fail to portray nature and is an expert at portraying birds. His works are often inspired by Indian art forms, like Manjusha folk art and contemporary art.

Ganga Narayan Maharana: Maharana tries to understand the essence of what defines a woman as part of his artistic journey. Maharana, who got his bachelor’s degree in fine arts after initial resistance from his family, lets his understanding of women’s inner world guide her external manifestation. Using the theory of Rasa, the artist tries to portray the emotions stipulated by the aesthetic theory through his art.

Aloke Dutta: Dutta challenges the dimensional differences between a sculpture and a painting and does so by depicting armatures. Dutta captures everyday life by focusing on the underlying structures that govern it, the structures that either hold the promise to create something new or are remnants of something broken. He has participated in major art exhibitions.

Fullachandra Mistry (P. Kashyap): Using acrylic on canvas, Mistry captures the intricacies of people and culture. Mistry, who graduated from the Indian Art College, has showcased his art at several distinguished art exhibitions.

Namrata Agarwal: Agarwal, an alumna of NIFD, combines her talent as a fashion designer and an artist and showcases it through acrylic abstract art. Her work stands out owing to its vibrant colours and intricate textures. Along with being a key member of Artamo, the artistic collective, she has also participated in several art exhibitions.

Sanjoy Banerjee: Banerjee looks at nature through the lens of creativity and tries to capture that on paper. He infuses life into the rocky landscapes he portrays through the use of bright colours. He has been a part of several solo and group shows, and he has also participated in art camps. His talent has been awarded both nationally and internationally.

Tanushka Singha: Singha nurtures and celebrates her creative space through her art. Instead of focusing on a particular theme, she explores the elements of life, both tangible and intangible. She explores spatiality through the emotions associated with it. She also explores the emotional values that get attached to mundane objects.

Sudhir V. Phadnes unveiled his solo show, Vision, at Jehangir Gallery in Mumbai.

Senior artist Sudhir V Phadnes unveiled his solo show, Vision, at Jehangir Art Gallery in Mumbai on March 11, 2024. The exhibition continued till March 17, 2024. The show was inaugurated by Sushma Sabnis, a prominent art writer and curator. The other guests include film director Yunus Bukhari and eminent artist Ramesh Pachpande.

A veteran in his work, at the heart of Phadnes’ artistic philosophy lies a profound connection with the universe. His canvases breathe with the rhythmic pulses of life, capturing not just moments but the very essence of existence. He intends to navigate the cosmic dance of atoms and the melodic symphony of curves, through his brushstrokes, bridging the gap between the macro and microcosms.

What sets Phadnes apart is his unyielding empathy for the world around him? He doesn’t stand aloof, casting a detached gaze upon his subjects. Instead, he immerses himself in the intricate web of forms that populate his artistic realm. This intimate engagement with the mundane unveils hidden treasures, revealing the beauty that often eludes casual observers.

Central to Phadnes’ artistic vision is the notion of lived experience. His art is not a detached exercise in aesthetics but a reflection of his psyche, infused with the rituals and ceremonies of his inner world.

Each stroke of his brush carries the weight of personal introspection, resonating with the universal rhythms of life.

In Phadnes’ oeuvre, one encounters a celebration of subtlety—a nuanced appreciation of life’s delicate intricacies. His paintings are not a retreat from the complexities of modern existence; rather, they are portals that invite viewers to behold the world through a sacramental lens. It is through this lens that the mundane transforms into the miraculous, inviting contemplation and reverence.

Phadnes’ artistic journey is not driven by a desire to shock or provoke. Instead, it is a quest to unveil the inherent beauty that permeates even the smallest particles of existence.

His art becomes a beacon of true vision in a world often shrouded in suffering and strife—a testament to the enduring power of creativity to illuminate the human experience.

As late Keshav Malik Padmashree Awardee once commented on Phadnes’ work, “an artist is more than just a creator of visual or auditory stimuli, they are conduits of the creative spirit, translating the intangible into the tangible. Phadnes embodies this essence, weaving intricate tapestries of emotion, thought and perception through his art. His work transcends mere depiction, delving into the essence of existence itself.”

In short, Phadnes embodies the quintessential artist—one whose work transcends aesthetic boundaries to touch the very soul of humanity. Through his paintings, he invites us to witness the world anew, to discover beauty in the most unexpected places and to embrace the transformative power of art in our lives.