Category: Interviews

Well-known for his unique technic and popular elephant paintings, Babu Xavier’s studio is nestled in the lap of Nature. Working in continuum, his paintings are international collectors’ pride. Senior art writer, SubhraMazumdar, in an interview with the master artist.

It was in the third year of graduate studies in Zoology, that artist Babu Xavier’s life stood at the cross roads. He was a good student and it was guaranteed that he would fare well in the examinations when he wrote them. Besides, he belonged to a family of government servants and most importantly, none of them had ever dreamt of pursuing Fine Art as a profession and which Babu Xavier was bent on doing. He left college to practice art with a group of senior and young artists in Kerala itself. This was the path he had taken up as an alternative to conventional art school practice to seek his fortune, in quite a ‘fairy tale fashion’.

At this point, or even further down the line, there was no unwavering commitment about making his name and fame as an artist that had egged him on, to take this drastic breakaway from a safe and secure path, in life. In his own self-confession, Xavier recalls, “As I look back I realise my passion made me hugely productive; trying various mediums and imageries.” Thus he had enrolled himself not in an art school at the outset but in his college library where during the first year, he soon transformed into a voracious reader. By the next year, he had turned his sights on the Arts section of the library, spending his time looking at drawings by masters and others. He also began to keep company with other artists and began making artworks in decorative patterns. Despite a plethora of art institutions in his native place, Babu Xavier was dead against the conventional art school practice and took a deliberate decision to opt for alternative methods of art education to hone his talent.

The art making output at this time was quite a mixed bag too, as Xavier continued to create pen and ink drawings of his own, and even indulged in a series of Batik collage works. There were also line drawings done on paper which kept money trickling into the coffers. He reached Kovalam in 1982 as caretaker of the gallery which was set up by a group of artists and was running in a government facility. This little-known idyllic spot by the sea had three beaches curving along its shores and drew holiday makers from abroad, on a regular basis. Coupled with a steady art output, the aspiring artist destined to make it big one day, was also obliged to manage his place of stay as manager-cum-resident sweeper for the next couple of years, while he stayed there.

By way of art making, Xavier had by now graduated from decorative works and drawings on paper to making small format water colours, on his managerial office table and soon enough, a sizeable stock of works was built up. Sales too, had burgeoned as the works found ready buyers among the town’s visitors, at Rs 20 only for each creation. “I couldn’t believe my own success with the small format works,’ he muses, “as I had no idea of the art scene and sales market at all.”

Having heard of Hussain, Shanti Dave and others of making name and fame with their art practice, Babu Xavier was quite inspired. This triggered an urge within him, to continue his pursuit, albeit with some misgivings, of course. “The imaginary lines in my art were very refreshing, but I had no clue about the art scene.” He was never chasing exposure but his potential did catapult him to the right places.

It was in 1985, when Dame Fortune had smiled in the most unexpected way. A young couple, employees of Grindlays Bank in Mumbai, who were honeymooning in the beach town, happened to visit his studio and liked his works so much that instead of just purchases in ones and twos they had selected a cache of works for the lordly sum of Rs 500. Back in Mumbai, the works had caught the attention of the famed Indian cartoonist late Mario Miranda, who asked the young Xavier to travel to Mumbai with a selection of his output. With a suitcase kitted with 300 small size works, Xavier knocked at the residence of the famed cartoonist in Mumbai, only to learn that his well-wisher was out of station. As a helpful aside, he was advised to while away his time, by visiting the galleries in and around Colaba, where he had arrived. Thus, had begun a tour-deforce of the geography of the Flora Fountain layout of Mumbai and his shy knocking at the entrance of Pundole Gallery, a landmark gallery in the vicinity.

“There was a lady from Kerala who was looking after the place”, recalls Xavier. He had thus taken the courage to broach the subject of his art output to her and offered to show her his creations. “There was something different that she saw, in these works I think,” he muses. “She informed me that the gallery owner Kali Pundole, had stepped out for a while and if I could return back to the gallery in a couple of hours.”

The return visit yielded nothing short of an unexpected miracle for the hesitant art seller. He was totally flummoxed when he heard the owner asking him: “Are you willing to sell the lot?” He was also requested to inform Mario Miranda in turn, about the proposed transaction. “Tell Mario that I am interested in the works,” Pundole reiterated. Of course, Xavier had no hesitation in accepting the generous offer, but what followed thereafter, completely floored him. He was offered a deal whereby Xavier was to work exclusively for the Pundole management. In turn, they would become his agents for art sales and would also give him an allowance for his living expenses. Right on the spot, the purse strings had been loosened and a generous amount of Rs 10,000 was in the hands of a somewhat dazed art maker. The deal had been topped with even more expediencies, such as the funding for buying quality art materials of his choice as well as an art space and accommodation at Chola Mandalam Art Village.

With his domestic front made smooth, Xavier dedicated himself to art making along professional lines. The earlier image of a struggling artist churning out works for the buyer’s market soon became a thing of the past. He was now able to approach his work in a free-spirited, yet discerning manner. While forms and other details underwent a change, what Xavier recalls of this period is him ‘feeling the pulse of the Bombay art scene’. His exhibitions, thanks to gallery sponsorship, reached a new high and Xavier was the darling of the art press, who lauded his art making, leaving him flummoxed to say the least. “People were making such fancy reports on me,” he chuckles. Even the art fraternity, including a senior artist from the Progressive Group, visited his exhibition in Mumbai, as also several members from the disciplines of music and writing.

Significantly, the emerging Babu Xavier on the art scene, was also the artist whom we would have no difficulty recognizing today. The motifs of animal figures, primarily elephant forms, were from this period. Also, a series of nudes and eroticism in A4 sizes became synonymous with his signature from those times. Exhibitions too, became a total sell out, but beneath this glamour and fizz, the core artist Babu Xavier continued to strive at improving and innovating in his chosen field. “My art was totally different from the trend of the times, with their flat background, water-based colours, animal motifs, altogether very rustic and with sharp lines,’ elucidates Xavier, as he sums up his style of art depiction.

And the spotlights had continued to shine on this newly emerging prodigy of the vibrant Mumbai art scene, when Babu Xavier was in the limelight once again, in a slightly off beat representation. While at his studio, a chance reference was given to him that “a lady from Chennai, Sara Abraham,” had come looking for him. She was none other than the promoter-founder of the Kala Yatra Art Movement, where she was hiring gallery spaces in cities and exhibiting promising artists, before seasoned and interested collectors. Although based in Chennai, she was a huge supporter of regional artists with talent, and Babu Xavier was one of them, together with Thota Tharani, Redappa Naidu, Jairam among several other luminaries.

It was her aim not just to promote art but to bring regional art practitioners on to a roving platform where it could be evaluated and appreciated and sold.

The face-to-face meeting was nothing short of a fantasy coming to fruition for our art maker. While Xavier was waiting at the bus stop to return to Kerala permanently after nearly a one-year stint in Cholamandal Artists Village, a car had screeched to a halt right before him, and there alighted Sara Abraham, offering him a sum of money, and after the preliminaries, she asked him to be in touch with her when he was back in Kerala. In fact, Sara Abraham offered all her support to promote young Xavier. Thereafter from 1986-89 Sara Abraham had supported and promoted him, not simply through sales and across platforms in India but even by introducing his art to the likes of Chester and Davida Hurwitz, the famed international collectors of contemporary Indian Art.

Although viewership and subsequent sales had remained buoyant after the Sara deal had been closed, the lure of Kerala’s beaches, and the pull of his homeland made him take the unconventional step of abandoning the fertile art atmosphere of Mumbai and rent a small facility in the beach town of Kovalam, to simply paint and paint. Though he had planned a life of comparative isolation, to immerse himself in his work and have no truck with sales or press coverage or art-related fanfare, his whereabouts were no longer sub rosa, as he had wished. Alas! how futile was this aspiration, for at the doorstep of his humble lodgings, Chester Herewitz had found his way and took back a large bundle of works, and leaving behind a stack of cash, together with gifts for the family!

Besides Herewitz, Xavier was also being befriended by fellow Indian masters, who too, gave him unstinted and valuable guidance. It was their observations that guided him to conform to small format works, as they had proclaimed that he had mastered that genre. Others coaxed him to leave Kovalam and make a trip to the capital to hob knob with the hoi poloi of Indian Art, as also build an acquaintance with the capital’s well-heeled art promoters as also eminent artists residing there. But his habit of remaining faceless had become his trademark and when he set foot at Gallery Ganesha in New Delhi, a gallery that had been successfully promoting him, the face-to-face meeting was something of a landmark, since its owner and our art maker had never met in person prior to that occasion. It was also a period when Xavier had ventured into doing independent works on large canvases and on non-figurative themes, signalling a point of release for him, personally. And when the studio space had proved restrictive for his art making in such gargantuan sizes, it was the restaurant walls of Mumbai’s hospitality industry that had offered him their outlets for his artworks. Today, the master continues to paint and progress unfettered and committed, believing that for the rest of his life, the yardsticks of his paintings would be measured in terms of, “expression, colour and style, for the rest of my life.” Then, as if letting one into a special secret, he adds, “In every series I paint, I always hold back two-three works as keepsakes, so that I have a continuum of artworks in my collection. The colours I pick for my paintings are always my own and not chosen from any other point of view. Finally, I must say, I never try another painting in the same format.”

Perhaps, one is drawn to conclude that the above principles that the artist has imbibed, such as his manner of cataloguing his art journey, his personalized palette and form selection, his redoubling of efforts in the face of negative comments, are but a derivation from his unique surroundings. Nestled as they lie, surrounded by beaches, where Nature works in a continuum, colouring the sandy shores in tinges of its own, this inspirational location remains unflustered by any negative comments and continues to glamorise its beachy showmanship with a dogged determination.

Veering from tradition to carve his own style, Pradip Mukherjee, one of the most famous Phad artists, has won accolades and awards in India and abroad. Subhra Mazumdar delves into the life and art of the acclaimed artist.

Every art aficionado who tracks Phad art would be aware of the impeccable art by Pradip Mukherjee. The artworks of Phad artist Mukherjee is truly an Indian iconic representation. Coupled with his life’s journey, his painterly skills, as also the audience reaction and the official recognition of his efforts, this master has grown over the years to become the darling of art connoisseurs, even while being at home with a rustic audience. Also, with an ever-burgeoning in-crowd of appreciators, among them several hailing from the royalty and many international experts with a yen to spot genuine talent, this gifted art maker has deservedly won over hearts and minds, both at home and abroad. Known for his unique canvases, on prominent mythological treatises and philosophical texts, that are represented in an iconic Phad art tradition, this artist had, quite early in his career, veered from the strict, inheritance-oriented art practices of folk art, to adopt these techniques, as also the subject content, into a style of his own. Thus, it is that despite his core content fashioned in the Phad tradition, he has forged his personal art journey, by casting the same, into a hitherto untried mould.

But all these achievements did not come his way overnight. Being the scion of a reputed family of Jaipur, his late grandfather, Kanti Chanti Mukherjee had been invited by the late Maharaja of Jaipur, H.H. Sawai Ram Singh, to take over the reins of the Prime Ministership of the kingdom. Thus, being born into an environment of luxury, he had spent his childhood quite in the limelight. Today, the Mukherjee clan which had migrated from Bengal, clocks around 80 members, who have been well entrenched into their place of domicile, over the years. But Mukherjee’s father had for some time, nurtured the fond hope that his first-born should learn the ways of his roots and had thus enrolled him for graduate studies at Presidency College, in Kolkata. But this proved to be a futile exercise, as Mukherjee found himself realizing that his calling lay in the direction of Fine Arts instead of a regimen of academic studies.

On his return back, the young Mukherjee had ventured out on his own and taken up piece work art projects, whenever the opportunity arose. It was the urge to paint, rather than working towards a professional commitment that marked his days, when a chance meeting with the then Director, Rajasthan Small Scale Industries, had changed his focus. “Look for your guru,” the official had advised, veering the young Mukherjee on a quest to look for a tutor who could harness his bubbling art excitement into a viable and earnest career option.

“It was an uphill task, searching a guru, particularly when I had approached the state’s renowned Phad master, Shrilal Joshi and requested him to take me under his wing,” recounts Mukherjee. While the traditional Phad maker had condescended to take Mukherjee under his wing, as a serious hobby art maker, Pradip was excited and gladly accepted the opportunity. Thereafter, the next three quarters of the year was spent in learning the rubrics of Phad exposition, as had been the custom in this atelier.

But the restless youth was a learner who was keen to forge an independent path, using the techniques of the tribal tradition, but stamping it with his own trademark.

Lady luck showered her largesse on Mukherjee in a somewhat vicarious manner, as the wife of his guru, Shrilalji, suffered a fracture of the leg and the young apprentice Mukherjee, became her dedicated nurse, till she recovered. The family also had begun to consider him as one of their own and his guru therefore, abandoned the casual instructional approach that he had followed thus far, and began giving lessons in earnest, sharing with Mukherjee the traditional techniques of composition, colour applications, canvas treatment and other nuances, characterizing a genuine Phad painting from the Shrilalji atelier.

But once again, the realization dawned on Mukherjee that he was mastering a craft limiting his abilities. He was becoming adept at producing commendable copies of his learning opportunity, but was not carving out a path of his own making.

Before long, he was headed for Jaipur, to test the waters, so to speak, as an independent art maker, with a penchant for Phad applications, by creating original works. His maiden attempt in this style of workmanship resulted in the young master creating a depiction of the Ramcharit Manas, which was not just a novelty among Phad creators but had also transgressed other categories of execution contained in the rule book. For one, the in-boxed depictions of narrative content, in eight inch to twelve inch frames, was executed in a series of 108 paintings, within the canvas space. This was a unique venture as never had any artist depicted this subject matter in a Phad makeover.

The work soon caught the attention of the Indian press and editors of popular weeklies such as ‘Kadambari’, ‘Saptahik Hindustan’ and ‘Dharm Yug’. The journals published articles and sought interviews with him. A film maker came forward to give his art a visual orientation and an hour-long documentary was the outcome, which was later telecast over the National Channel in a month-long serialized version. Attention soon began to pour in from official quarters as he was granted fellowships by the Ministry, and the then Secretary of Culture Kapila Vatsayayan, took a personal interest in his abilities, later on, even a recognition by the British foundation INLAKS came forward to honour his effort.

But behind all this fanfare and patronage of his art from several sources, the newer approach to an ageold craft form was still limited to an understanding few. Also, a more hands-on- platform, where the art maker could engage on a one-to-one basis with an audience, was lacking. In his own surroundings, the Phad classic was well entrenched and a novel addition, was bound to be acknowledged right away. It was the noted Indian designer and craft patron, Rajeev Sethi, who had taken matters in hand, after he had realized the potential of this gifted art maker. He had accordingly given him a letter of introduction to Dr Jyotindra Jain of the Craft Museum in New Delhi. The latter immediately arranged for Pradip to join the Crafts Museum’s live demonstration resource programme for a month-long stay on the premises and make products in a live demonstration for onlookers and visitors to this crafts bazaar. Soon Mukherjee was a popular art maker among the visitors, seated in his allocated kiosk, working on his artworks, while holding conversations about his work, with the public, the occasional buyers, and officials, all of whom were highly appreciative of his entrepreneurial role in giving Phad a new and wider orientation, even while leaving its techniques unaltered.

It was just a logical step ahead when Mukherjee was handpicked by noted foreign art promoters worldwide, and Mukherjee was given assignments to paint the Prophets of the Old Testament, in his unique style, for a client in France, followed by a depiction of the Imams Hasan and Hussain, as part of an assignment by the Aga Khan Trust. Another notable work from the same period was a depiction of Jayadeva’s ‘Geeta Govinda’, also in his original style, and which is now a part of the IGNCA collection. And on a very personal request, the artist had also made a depiction of the theme for the noted dancer Hema Malini.

Then as these projects required a thorough knowledge of their subject matter, gleaned and researched from academic resources, it was an obvious branching off, when the young painter also disciplined himself into becoming a serious scholar of ancient texts, from around the world. This tendency to authenticate his reproduction on the lines of studied resources made for an unequivocal accuracy in his source base. The artist could eloquently detail every nuance, every incident, he had projected, and thus viewers came away not just with an eyeful of pleasurable experiences, but also a slice of know-how about the heritage on view, from a studied standpoint.

It was therefore no surprise to his coterie of collectors and aficionados when this thinker- painter took up the pen alongside the brush and began penning his findings in books. Till date, this habit of his has resulted in a sizable authorship of 118 books, on the legends, beliefs and writings of seers and thinkers. And if one strikes up a conversation with him today, invariably the trend of the conversation homes on to Lord Hanuman, as he is currently engaged on a Phad-based illustration of Lord Hanuman for a museum collection.

With a number of artworks on Hindu epics to his credit, Mukherjee was excited to change course ever so slightly and undertake a series of biographical illustrations, in the Phad technique, on the 24 Jain Tirthankaras. The works are on large canvas cloth and are strictly according to the Svetambara doctrine. His current assignment has also led him to acquaint himself with the writings of Sikh Gurus, particularly the contents of the Dasam Granth, the revered scripture of Sikhism that details the guidelines of the revered saint Guru Nanak’s teachings as enshrined in the Khalsa.

But despite being faced with a staggering artistic workload, from every conceivable quarter, the artist has never compromised on his habit of first acquainting himself with the subject matter from learned sources, before actually taking up the brush to ideate the same. This sincerity of approach has trickled into his other pursuit, namely the training of the next gen artists in whom he instils the unassailable creed of remaining faithful to the art form, while at the same time, refraining from following its techniques slavishly. Also, in the course of innovation during the painting process, he insists that his team of followers should make academic studies of their painterly subjects, from a number of authorities, so as to bring a studied originality into their practice.

Of the next-gen followers of this diktat, Mukherjee likes to give the honours to Shamsher Khan, who has been under his tutorship for more than two decades. Together the duo of master and learner, have perfected the age-old traditional art and established its context in a viable and workable format to a new reputation, where it has ceased to be just a repetitive depiction of subject matter, or regulated pattern of construction, but has been altered into an intelligence and research based orientation, where the art is intact but its outer raiments of subject matter and canvas adjustments have been transformed in keeping with artistic sensibility and amalgamated with academic euthenics.

Mukherjee’s works encompass a variety of themes and subjects. These include subjects from Hindu mythology like Ramcharitramanas, Geet Govind, Durgā Saptshahti, Bhagvad Gita, and Hanuman Chalisa, Kālidāsa’s works like Kumārasambhava, Abhijñānaśākuntalam, and Meghadūta, as well as themes from Jain and Buddhist mythologies. He has also painted modern subjects like Agyeya’s Sagaramudra. His paintings on Durga Saptashati are displayed at City Palace, Udaipur. Pradip’s works are also displayed alongside M. F. Husain and Manjit Bawa‘s paintings in the VIP lounge at IGI Airport.

I paint the way I live. My biggest of inspiration is everyday life, of which I am trying to capture the essence.

Art is not just about aesthetics and beauty; it is also about the ability to visually express a thought-provoking story that allows a person to get lost in the delicate maze of brush strokes and paint. Creating such awe-inspiring works of art is not an easy skill, even for the masters. Only a few are able to achieve this level of artistry and one such artist is Fawad Tamkanat.

Fawad Tamkanat was born in 1962 in the city of Hyderabad in western India. His interest in art made him pursue art from the early stages of his life. He started on his journey at a time when art was not well appreciated and popular on curriculum level. A gold medallist in both BFA at JNTU and MFA at the University of Hyderabad, he never let anything get in the way of his curiosity even in his college days.

His endless love for art led him to mould the last four decades of his career into becoming one of the most prominent artists in the art world. Not only did he conduct solo exhibitions across India, but he also exhibited his works around the Internationally. Fawad Tamkanat’s art has a significance and style that instantly lets a person recognize his work. Because of his incredible artistry, he was able to travel across the world, where people were able to experience his art among his 100 plus art shows, 64 exclusive group exhibits, and 30 invited art show participations. Each show was the talk of the town, including a group exhibition curated by Jaya Bachchan and Sapna Kher for Amitabh Bachchan’s birthday. Fawad has always experimented with different styles and constantly searches for opportunities to go beyond canvas. Fawad’s works are museums and collectors’ delight. They hold a place of pride in the famous National Gallery of Modern Art in New Delhi, the Ambani’s and many others. Fawad’s most recent collaboration with art collector and art connoisseur Utkarsh Veer is the highly acclaimed, commissioned art piece titled “Cityscapes,” an exquisite work done on solid teak wood weighing 60 kgs now in the private collection of Utkarsh Veer.

One of the artworks Fawad cherishes forever is, “It’s a Way of Life,” where he got to share a stage with his daughter, Afza Tamkanat who herself is a renowned artist. While Afza’s work is more subtle with delicate hues; father and daughter have their own diverse approaches to art.

Something that has always been a part of Fawad’s journey, is supporting the many not for profit foundations through his shows. Fawad says, “Every year I curate 2-3 charity shows with organisers and donate artworks worth up to Rs 15 lakhs. Mostly, I work for the girl child as many people don’t take care of children, especially if it is a girl child in India, which is sad. I raise funds through my art for education, better living, and scholarships for higher studies, so we have to work in this particular area, and that’s why I am concentrating on camps and offering help during natural calamities in the city and abroad”.

Fawad also reveals his passion for wildlife in his works. One such instance, where he has shared his love for wildlife is through his exhibit “Celebrating Tigers of India,” where more than 70 artists got to exhibit their artwork supporting the cause. This magnificent exhibit in Mumbai was a wonderful hit with the attendance of special guests such as Nita Ambani.

Art Soul Life in a no-holds-barred interview with the artist Fawad Tamkanat, whose themes fluctuate between his inspirations and explorations.

Q. We hear that “everyday life is the main source of inspiration for your narrative paintings”. Could you please elaborate upon it?

I paint the way I live. My biggest source of inspiration is everyday life, of which I am trying to capture the essence. Every morning, I witness the vibrant chaos of urban existence on my way to the studio. Commercial malls with extravagant window display cast reflections of the lively street life, creating a dynamic narrative. The composition invites viewers to connect with the universal aspects of everyday life, fostering an appreciation for the meaningful moments we often overlook.

Q. Your cityscapes inspired by Hyderabad often have structures that are crowded and archaic. In the past couple of decades or so, Hyderabad cityscapé has witnessed modern architecture mushrooming everywhere. Has this affected your work in any way?

Does this affect your “Everyday life nostalgia?” My current series of cityscapes are a tribute to the various towns in India, the Netherlands, Paris and the Middle East. I am hugely drawn to these charming towns that have their own quaint characters. The environment, the people and their cultures move me to paint the silent grace that is embedded in such spaces. Therefore, my narratives are an amalgamation of these spaces that are like reference from my memories. Each corner of my painting is a personal tale that I recreate in my own signature style.

Q. Could you tell our viewers about the rickshawwallah who figures in many of your cityscapes? How did he manage to capture your fancy?

I painted one particular rickshaw-wallah several times because of his aesthetic sensibilities and very calm and composed artistic facial expressions. The way he carries himself in a cotton kurta and indigo lungi is very impressive. Whenever I used to go to the old city to make sketches, my eyes would search for him in lanes and bylanes of the old city.

Q. Afza, your daughter paints too; do you influence and critique each other’s works? Do you have separate ateliers? Please tell us more about the exhibition “It’s a way of life”.

Afza, my daughter is a strong individual, and as an artist, she has her individual style right from her college days. We both have our own atelier. We work separately. After her marriage she settled down in Australia with her husband and two daughters. She paints and exhibits in all major art fairs like Singapore, New York, Australia and reputed Indian art galleries. We often discuss work as she is my biggest critic and I always respect her opinion and I feel very proud to be her father. Last year Gallery Time and Space invited us to exhibit our works as a father and daughter duo. It was a wonderful experience as it was the first for us. We had an amazing response from colleagues and art lovers.

Q. In some of his works, your father, the late Shaz Tamkanat, renowned Urdu shayar and poet, dwelled upon nostalgia (Mujhe yaad padta hai ek umr gujri..), has this influenced some of your works?

My father was a very renowned Urdu poet. He was a guiding light in my life. He has woven the thread of poetry and paternal wisdom into the fabric of my existence. My father and mother always gave us freedom to pursue whatever profession we wanted. We were born in an artistic environment and music; poetry and painting were part of our lives. We used to have sham-e-ghazal (musical night) at home every month. Renowned singer writers and poets like Begum Akhter, Jan Nisar Akhtar, Majrooh Sultanpuri, Javed Akhtar, Kaifi Azmi and many more used to visit our home… We got the opportunity to listen to them very often.

Q. There was a time when you painted black and white erotica and nudes. How did that happen, did you have a muse then?

I painted nudes, erotic dry points and etchings during my residency in Kirsten Kjærs Museum in Denmark. It was when I was travelling very often to Scandinavian countries to attend installation art camps “Tide96” and my solo shows in Denmark, Germany, Sweden and neighbouring countries that I was inspired to do these works as I visited several museums to see works of Van Gogh, Picasso, Matisse and Gauguin. My erotic dry point has a strong influence of Picasso.

Q. There was a time when you painted for eight to ten hours a day. Has this changed over the years?

I still paint very long hours alone when I have peace of mind, particularly if the weather is beautiful and it’s raining or very calm and quiet nights always help me to paint large canvases.

Q. About artists you draw inspirations from, or have been influenced by..

I always keep my eyes open and my mind aware, which helps me to grasp knowledge from various sources. My inspiration is life and life are beautiful. I want to capture the essence of life through my work.

Q. You are known to work on diverse media, experimenting with forms, textures and techniques. How do you choose the medium, style, and technique for your narrative paintings? Is there a method to it?

As an artist I always try to explore new mediums to experiment. I don’t like to paint one subject or one medium throughout life as a rubber stamp like many artists do. Earlier, I used to paint oils and then I switched to acrylic. For many years I worked in black and white only. Life is so beautiful. There is so much to learn and experience every day as an artist. My travelling experience enabled me to learn new techniques and new medium and different surfaces to paint.

Q. Do tell us more about the fund raiser you organized during the pandemic.

I love to curate shows once in two or three years for a social cause and try to invite the most promising artists from all over India and abroad. It has helped me to connect with new and prominent artists and bring them under one roof.

Q. What are some of the challenges and opportunities of being a narrative style painter in the contemporary art world?

There are a lot of challenges and at the same time, great opportunities for every artist if he or she is honest about work. When I was very young, I used to go to very reputed galleries with confidence along with my portfolio. I faced a lot of challenges during my early years, but I was sure that I’m going to work only with reputed galleries and managed to do that. Today, you can see my work at the National Gallery of Modern Art. These paintings are black and white with dry points and etchings. I have more than 100 solo shows worldwide successfully.

Q. Any words of wisdom for budding painters?

Let your passion guide your creativity. Remember growth often comes from pushing boundaries and learning from both success and setback. Experiment fearlessly.

Written by N. Kalyani, the book features fifteen achievers who excelled in their fields despite the odds, says Richa Bansal

Make it Big: Inspirational and Motivational Stories is a book filled with stories that inspire and motivate. These stories show how people faced tough challenges on their way to success and didn’t give up. The book wants you to believe in yourself and your dreams. It’s like a guide that says even when things are tough, keep going. And when it comes to impact, the book also features artists who have used their creative talents to craft their own stories of success. For example, Rupa Samaria is a fine practitioner of the dying art of ornithological paintings, installation creator, conservationist and teacher who has been working on creating awareness about birds of the Aravallis. The stories show that even when life is hard, you can still make a positive change and grow. The book reminds us that pursuing our dreams is a journey worth taking, no matter how hard it gets.

In life everyone needs motivation for achieving their goals. “Make it Big” is a compilation of 15 inspirational stories of achievers written by N. Kalyani, an experienced journalist. The achievers featured in the book have revealed, in their own words, how they have excelled in their fields despite the odds they faced in life. The achievers and influencers covered in the book include Dr Sweta C Saxena, Kuntal Kumar, Dr Manu Gupta, Suresh Kumar, Shehla Hashmi Grewal, Dr Rajani Rao, Ananthoo, Simi Rajan, Lakshmi Menon Bhatia, Dr Deepti Bhalla,

Dr Usha Prasad, Isaac Kehimkar, Dr AJT Johnsingh, Sushant Kalra and Dr Anjali Pathak. They are persons who have excelled in their chosen field because of their hard work and dedication, their passion and perseverance and their life choices.

Their journeys and achievements will inspire and motivate everyone to pursue and persevere and archive their goals one never dreamt of in their life. Everyone has the potential to achieve their life aspirations and goals but because of odds and without inspiration people may not achieve their goals in life. People can get inspiration when they read books like “Make it Big” – Inspirational and Motivational Stories of Achievers and Influencers.

There are fifteen chapters in the book, each chapter is dedicated to one of the fifteen achievers who achieved their passion and life goal. For example, Dr AJT Johnsingh, a wildlife expert has a passion for nature and wildlife, worked as faculty in Wildlife Institute of India, Dehradun several years and retired as the Dean, Faculty of Wildlife.

Even after retirement he is doing great service for wildlife conservation and he is a dedicated conservationist. Mr Suresh Kumar is a miniature artist who has also designed several stamps, post marks and postal stationery N Kalyani has meticulously conceptualized and edited a very inspirational and motivational book for persons of all age groups. This is a must-read book for all. The book conceptualised and edited by N Kalyani is a must read. A bouquet of inspirational and motivational stories of fifteen achievers, each chapter is a study on how to chase your goals with grit, determination, diligence, and how to balance both personal and professional life. Each story is narrated in first person and the book captures the determination and perseverance of personalities from various walks of life. There are stories of personalities from the varied arts both performing and visual.

The path of hard work and accomplishment of musicologist and Carnatic music exponent Dr Usha Prasad; the journey of illustrator and designer Suresh Kumar; the challenges that Carnatic vocalist, Hindustani light music singer, and dancer of both the Kathakali and Mohiniattam dance forms, Dr Deepti Omchery Bhalla faced as she sought perfection across genres; the successful pivots of mural artist Simi Rajan; the Partition-impacted life of Shehla Hashmi Grewal, co-founder of the Jana

Utkarsh Veer, the chief strategist and angel investor in Mazda Art, is the new star on the art horizon. Mazda Art, founded by husband-wife duo Vispi and Dilnawaz Tarapore is a Hyderabad based company.With his astute mind and artistic instinct, Utkarsh has played a crucial role in Mazda Art’s success. He is an innovator, advisor and mentor with expertise in the art and animation space. He is the founder and managing director of Rocksalt Interactive Games, one of the leading studios for game art. Team Art Soul Life delves into a comprehensive discussion with Utkarsh Veer for a peek into his art journey.

I am an artist myself, so art has been with me since the very beginning.

Q1. How and when did you become interested in art?

There is hardly any scope of a ‘how’ or ‘when’. It came naturally to me. I am an artist myself, so art has been with me since the very beginning. In fact, I quit my graduation in science in the second year and joined Lucknow College of Arts. I did my BFA from Lucknow University in commercial arts.

Q2. Mr Veer, you yourself are a BFA from University of Lucknow; what are your views on the current BFA programmes in India? How relevant and up to speed are they in this new age of AI? Could a fine arts greenhorn be able to survive just as-is, if not, what should their adaptation strategy be?

The programmes offer multiple ways to gain understanding of the art industry. But art is such that only real experiences can create an artistic mindset. Institutes need to push and motivate their students to explore the real art world and not just suffocate them with courses after a point. To answer the second 24 part, no matter what, the value of fine arts will not go down. AI can, maybe, make a particular kind of task fast, but not anything individualistic. And art is all about imagination and creativity which is all very personalised.

Digital platforms are offering ways for artists to showcase their work to the world

Q3. The relationship between art and commerce has been a popular and a contentious topic. While some argue that art should be created purely for its own sake, others believe that art must be commercially viable to be successful. It’s generally agreed that the disconnect between “real” art and “commercially viable” art is quite complex with no absolutes – right or wrong. It isn’t by any stretch, a fun campfire question to keep the conversation hot and burning. Isn’t there a growing recognition of the disconnect between art and audiences? Where does pretentious art fit in? How are art pieces valued – pretentious or otherwise?

No offence, but if the artist is struggling despite being a good artist because of how things are, then commercialart is a way to get the necessary means. I don’t think that there is disconnect between art and audiences. But art often explores intricate themes, stoking deep emotions and intellectual engagement. However, these elements may sometimes alienate broader audiences seeking more accessible or relatable content. Furthermore, the contemporary art world’s elitist reputation and the proliferation of avant-garde, abstract, or conceptual pieces sometimes deters the average person from engaging with art.

Art pieces made by pretentious artists would be pretentious, If the artist is true to his muse, then why will his art be otherwise. Art piece valuation is a complex process, influenced by factors like artist reputation, provenance, condition, rarity, and market demand. Appraisers, collectors, and auction results help determine an artwork’s worth.

Q4. Some artists believe that commercial success is not the ultimate goal of their work and that art should be created for its own sake – only and exclusively for its own sake alone. Others argue that artists must be ableto make a living from their work and that commercial success is necessary for them to survive and thrive. Balancing pure art and commercially viable art can be challenging. How do you see this evolving of the recent?

What is ‘pure art’? For me, it is something that is original, requires effort and comes from the innermost interact of the artist. And if this is done with a commercially viable intent, making the two ideas blend well, then it’s a win-win. Evolution will continue to happen, it’s upon us, as artists and art lovers, to understand art from where it comes rather than putting a tag of pure or commercial to it. Moreover, Balancing pure art’s creative expression with commercially viable art’s market appeal is a delicate tightrope for artists. Striking the right mix between artistic integrity and financial success often defines their journey in the creative industry.

Q5. The distinction between fine art and commercial art is often used to illustrate the great art divide. Fine art is created solely for aesthetic and intellectual purposes, while commercial art is created for commercial purposes, primarily advertising. However, this distinction has become blurred in recent years, with many artists using commercial techniques to create works of fine art. Do you have any advice as to how to go with the flow?

See, this will bring me back to the point of originality and effort. If the artist understands that and then uses commercial techniques or methods then I don’t really see much harm but if the artist has poor understanding of art itself then of course it will never work. If you are an artist or an art lover, then the priority should be art. The other angles automatically follow. If art comes later in the process, then it would never work in the long run.

Q6. As the Chief Strategist for Mazda Art, where does AI fit in your overall strategy?

Nowhere. AI in art strategy often lacks the nuanced human creativity and context required for meaningful artistic decisions. While it can assist, it’s not always fruitful in capturing the depth and subtlety of artistic expression.

Art is something that stimulates an individual’s thoughts, emotions, beliefs

Q7. Many artists worry that AI-generated art would replace human creativity and lead to a loss of artistic expression, others argue that AI can be a valuable tool, helping artists to explore new ideas and push the creative envelope. What’s your take on it?

AI is artificial, we have created it. We can’t get scared of our own invention. As I said, if you have a unique voice and originality, no AI will ever get in the way.

After all, AI-generated art can replicate patterns and styles, but it lacks the depth of human emotion, intuition, and conceptual originality. It complements, but can’t replace the unique and irreplaceable human creative spirit.

Q8. Does Mazda Art have a mission statement for promoting Indian art globally?

We will be promoting artists as much as we can at a global level. Promoting Indian art globally involves showcasing its rich diversity through exhibitions, collaborations with international artists, online platforms, and cultural exchanges. Embracing traditional and contemporary forms, India can share its artistic heritage with the world.

Our home is India, so Indian artists will obviously be at the center stage. Our aim will be to provide them with a platform and a global stage and earn the much-deserved name and fame.

Q9. Artists have found new ways to create and share their work in order to overcome the challenges posed by the recent pandemic. Many have turned to digital platforms to showcase their art and connect with audiences around the world. Is this something that you view as a stop-gap or do you envisage this as the new norm? Isn’t this sad?

I don’t think that there is anything wrong with digital art or adapting to the times. Art cannot be kept in a limited space and expected to stay in that. It will change, it will transform. And digital platforms are offering ways for artists to showcase their work to the world, so why not? Museums and galleries also offer virtual exhibitions. If the artist stays real towards their work, has original ideas and can take different points of view, then this is a platform that can actually turn out to be quite helpful for them.

Q10. Art is a turn-on, please comment.

In my opinion Art is something that stimulates an individual’s thoughts, emotions, beliefs, or ideas though the senses. Art ignites passion, stirring emotions which are usually deep-seated . The interplay of colours, shapes and stories is a symphony that awakens the soul. In its beauty, we find desire, a captivating, timeless allure.

Anne Neilson Fine Art is a renowned art gallery that has captured the hearts of art enthusiasts around the world. Located in the heart of Charlotte, North Carolina, this gallery has become a sanctuary for both emerging and established artists, offering a unique platform to showcase their talent. With a diverse collection of contemporary and traditional art, Anne Neilson Fine Art has established itself as a beacon of artistic expression, attracting patrons and collectors alike.

A Visionary Beginning

Founded by Anne Neilson, an accomplished artist herself, the gallery’s inception in 2012 was driven by her passion for the arts and her desire to create a space where artists could flourish. Anne envisioned a place that would not only connect artists with collectors but also foster a sense of community and support within the art world. She aimed to make art more accessible to a wider audience and to instil a love for art in the hearts of many.

A Diverse Collection

Anne Neilson Fine Art boasts an impressive and diverse collection that spans various genres, styles, and mediums. From abstract masterpieces that challenge the boundaries of perception to realistic portrayals that evoke deep emotions, the gallery celebrates the rich tapestry of artistic expression. Their curation reflects a keen eye for exceptional talent, as they carefully select artists who imbue their works with passion, originality, and storytelling.

Supporting Emerging Artists

One of the gallery’s hallmarks is its commitment to supporting emerging artists. Anne Neilson Fine Art serves as a nurturing platform for those seeking to establish themselves in the art world. By providing exposure and mentorship, the gallery empowers these young artists to find their voices and refine their craft. This support often leads to career-changing opportunities, as they gain recognition from both seasoned collectors and art critics.

A Haven for Established Artists

Beyond its support for emerging talents, Anne Neilson Fine Art also represents a host of esteemed and established artists. These artists are celebrated for their contributions to the art world and continue to inspire generations with their creations. The gallery serves as a conduit for these artists to connect with a global audience, ensuring that their artistic legacies endure.

Engaging the Community

Anne Neilson Fine Art is more than just a space to admire and purchase art; it is a lively hub of artistic engagement. The gallery hosts regular exhibitions, artist talks, and workshops, fostering a vibrant community of art enthusiasts. Through these events, visitors have the opportunity to engage directly with artists, gain insights into their creative processes, and deepen their understanding of art.

A Charitable Spirit

Beyond their commercial endeavours, the gallery is dedicated to giving back to society. Anne Neilson Fine Art actively supports various charitable causes and hosts fundraisers for organizations close to their heart. They believe in the transformative power of art, not just in enriching lives but also in making a positive impact on communities in need.

Anne Neilson Fine Art stands as a testament to the power of art in bringing people together and inspiring positive change. With its unwavering commitment to artists, collectors, and the community, the gallery has become a cherished destination for all those who seek solace and joy in the world of art. Through their visionary curation and philanthropic endeavours, Anne Neilson Fine Art continues to leave an indelible mark on the art world, paving the way for a brighter, more inclusive artistic future.

Amrit Pal Singh pays tribute to art legends who have inspired his artistic sensibilities and explores the future of digital art, says Neha Kirpal

The Toy Face Tour’ by visual artist, 3D illustrator and art director Amrit Pal Singh showcases a physical toy room made to human collection of 7 new Toy Faces, and a presentation of the artist’s previous Toy Faces. Singh’s lovable toy faces are a celebration of a whimsical childhood that transcends age and persists through adulthood. This exhibition includes seven new Toy Faces featuring absolute art legends like M.F. Husain, Dali, Japanese artist Yayoi Kusama and more. And also brings a virtual world to reality by enabling visitors to enter a digital toy room for the first time ever. Presented by Method & Hefty. Art, the exhibition, which recently concluded at Stir, DLF Chattarpur Farms, Delhi, will head next to Method Kala Ghoda, Mumbai from June 8 to June 25 and Church Street Social, Bengaluru from July 7 to July 23.

In this exclusive interview, Amrit Pal Singh talks to us among other things about infusing 1990s nostalgia into the exhibition, paying tribute to art legends who have inspired his artistic sensibilities over the years, and the future of digital art.

Tell us about the idea behind your first solo exhibition, a physical 3D toy room made to human collection.

It’s probably every artist’s dream to have a solo exhibition, so it was mine too. I’ve accomplished a lot so far, and shown my work in many groups shows in galleries across continents. But that one thing I hadn’t done was a solo exhibition. Sahil Arora from Method Kala Ghoda and I started speaking about this more than a year ago, and how to make it possible. He asked me what my ideal solo show would be, and I told him to make a physical 3D Toy Room. We decided to go for it.

In addition to the physical room, I made seven new Toy Faces, those of iconic artists throughout history, all of which are also a part of the Toy Room. Since these seven would push me over the 100th NFT mark, we thought we would further commemorate the occasion by displaying some of my favourites from the Toy Face collection.

We decided if we were going to do something on that scale, then why limit it to just showing it in Mumbai (where Method is located)? Instead, we found a way to bring it to three cities: Delhi, Mumbai and Bangalore. Hefty. art joined us in this endeavour, and things went from there.

The exhibition allows visitors to enter a digital toy room for the first time ever. Tell us more about putting this together, and how it is different.

Well, for starters it is the first time I have ever made furniture! That in itself is a big change. I am a 3D artist and I specialise in graphics and brandings, so the whole aspect of production to build something physical was different. It takes time, renditions and experimentation. Getting it right still relies heavily on the digital mock up, but there are offline aspects that you can’t take into consideration until it happens. I learned about fabric and materials. There was a whole new type of problem solving involved. But this was something I’ve wanted to do for a long time, and finally making a digital Toy Room come to life offline has been magical.

There’s also a new aspect of joy as I see people interact with the furniture and objects within the physical room in a way they can’t in a digital room. All of the furniture and objects are for sale, and I do hope that people take this joy home with them to experience on a daily basis.

Tell us about the 7 new toy faces as well as the previous toy faces in the collection, covering inspiring persons from the fields of music, technology and 1990s web culture.

In order to tell you about the seven new ones, I should tell you about the first, which was Frida Kahlo. That’s where it all started, with one iconic artist who changed the world. From there, I delved into various people or characters, some of them real—like Daft Punk—and others my own imagination—like Candy Toy Face. I basically made Toy Faces of people or movements that resonated with me.

But for the 7 new Toy Faces, I wanted to return to where I started—with the artists. I wanted to pay homage to these individuals who were not just integral to the art world, but to society as a whole. These were revolutionaries each in their own way, and they pushed things in a new direction.

The toy faces include art legends like M.F. Husain, Dali, Andy Warhol, Amrita Sher-Gil, Salvador Dali and more. How have they, and others, inspired your artistic sensibilities and journey over the years?

So much. I think most of all, their courage. I think people underestimate the courage it takes to pursue something so out of the box as art. I mean, we all know that a lot of artists don’t even see success in their own lifetimes. But they kept pushing and making and creating. They experimented. It’s not even necessarily just about the art that they made, but their essence and what they infused into society. We owe a lot to artists because they undeniably make the world a more interesting place.

How have you infused nostalgia from your personal life, particularly in the 1990s, in this exhibition?

My whole thought process behind the Toy Room was to make my own dream Art Collector’s Room. For me, that doesn’t mean a stuffy, high-brow place. It means something young, vibrant and full of colour. Something magical, whimsical and that ushers in a special kind of feeling. I’m a 1990s kid, so for me, that whole feeling of youthfulness and nostalgia are rooted in that – bright colours, a globe of possibility. The same thing goes for the Toy Faces. I made them for the simple reason that I like toys, and I most actively played with toys in the 1990s, so that shape and style was my point of reference.

For the exhibition, you officially collaborated with the MF Husain Estate. Tell our readers more about this.

This was a wonderful opportunity and I am so excited to have seen it come to fruition. When I started working with Method to make the Toy Face Tour a reality, we knew that an official collaboration was something that would make the whole experience that much more special. Thanks to Hefty.art, we were able to work with the Estate to make that happen. Having an official collaboration with the estate of the country’s most established artist of all time brings added value of course, and it is something that I will never forget. Knowing that they have participated in my portrait of Husain – wow! And for me, it was really quite personal because I actually remember when M. F. Husain came to my school and talked to us about art. That experience had such a profound impact on my life, even if I didn’t fully realize it at the time.

You recently dropped your 100th NFT. Tell us more about this.

It’s been a ride! I mean, I started dropping NFTs at the beginning, and never did I ever think I would be here. I have been very fortunate to have found the right community in the NFT world, and to build a series that resonates with so many people across the globe. My collectors are my friends and mentors, and that’s something very special to me.

I will say, I didn’t make the Toy Faces because I wanted to make an NFT, per se. I wasn’t looking for a “hook”. I made them for what they are—cute toys that conjure up nostalgia and happiness in pretty much anyone. In that passion of making something that was quintessential to who I am and the world I want to live in, I was able to also find success.

What has been the response you have received to the exhibition so far?

Amazing! On the opening night, hundreds of people came to Stir. We did some great collaborations with Boxout.fm who put together a wonderful line up of music, and that night was just a fantastic way to kick off this entire tour. The response has been so great, we actually extended the Delhi leg of thetour by a week.

For me, it’s been really special to see people interact with the Toy Faces and the Toy Room. Everyone finds their favourite Toy Face. For some, it’s Medusa and others it’s David Bowie. There is literally something for everyone. This is also the first time I’ve made limited edition prints of the Toy Faces available, so people are able to take home the ones they love. I’ve minted seven new NFTs, three of which sold on the first day. The M. F. Husain sale even hit some of the biggest international NFT news. I feel proud and humble to bring that kind of spotlight to India.

What do you feel about art of the future, with new mediums such as digital art and NFTs?

This is really a big question, but the answer is quite simple: it’s limitless. Technology is bringing so much into the picture, and I don’t think the majority of us can really even begin to fathom what the future holds in store. Things are changing at a rapid pace, and the best advice I have for artists is to embrace it. There are new mediums popping up every day and AI is improving every minute. We have so much opportunity—we just have to figure out how to harness it to make the art—and art world—that we want.

What are you working on next?

Right now, I’m focusing on the tour. We will be at Method in Mumbai in June, and then in Bengaluru in July. If this goes well, there is scope to take the tour to even more cities within India, or perhaps abroad. Aside from that, I have a commercial art practice where I’ve been able to collaborate with many brands on very interesting projects. I am always looking for new things to work on that inspire me.

He may not have been an auction darling, but for the self-effacing Ram Kumar – one of India’s foremost abstract painters – it’s more about the presentation of his art than the projection of his artistic personality, says Anindya Kanti Biswas

The living legend continues to experiment, create and mesmerize viewers with his masterly strokes. It’s a revelation, however, when the shy and self-effacing Ram Kumar, 91, confesses that more than his passion, it was money that was a major factor in his decision to take to painting. In a candid confession, the master who is rightfully regarded as one of India’s foremost abstract painters, reveals how he quit his bank job to paint because “you could sell two works for Rs 300 and manage the whole month.” As a child, the artist who began painting rather late in life, says he was least interested in art. “I belonged to a large middle-class family and my father was a government employee in Shimla. There was no emphasis on creative pursuits, but somehow my younger brother Nirmal and I got into writing. For us, it was also a way of earning some money,” he admits. In fact, he studied Economics at the Masters Level at Delhi’s St. Stephen’s College because it would help him get a bank job. “Given a choice, I would have taken literature in my graduation, but because Economics would have fetched me a job in a bank, I opted for it on my father’s insistence,” he says. “I got a job in Shimla Bank, too, but my interest was elsewhere. I left it within a year and came to Delhi to join a Hindi newspaper as a trainee for Rs 50. I would have got a job after six months of internship. But I didn’t take up the job; instead, I enrolled myself for MA and managed my expenses by doing some translations from Hindi to English and sending articles and stories for magazines and newspapers.” As chance would have it, while studying economics he came across a poster for an art exhibition.

He recalls, “It was in 1945. I was very excited and enrolled for classes at Sarada Ukil School of Art in Delhi, where Sailoz Mukherjee used to teach. Initially, I just went for the evening classes when Western art was taught. Later, I started going in the mornings for lessons on Indian art.” In 1948, he gave up his bank job to pursue art and participated in a group exhibition in Delhi. This is the year when S. H. Raza first saw his work, especially ‘Kashmir Landscapes’ at the All India Fine Arts and Crafts Society (AIFACS). Ram Kumar was also impressed with Raza’s work and invited him home. Raza spent a night in Ram Kumar’s house and did a large portrait of Ram Kumar in gouache. Later, both went to Mumbai and Ram Kumar stayed for a month there. The artist found an art atmosphere in Mumbai and got inspired by reading Marg and Illustrated Weekly because of regular coverage of art scene in these magazines. Once back in Delhi, he met with the grand old man of the Indian art scene, B. C. Sanyal, who formed ‘Delhi Shilpi Chakra’ before forming the ‘Progressive Art Group’ and became one of its founding members. Apart from Sanyal, Sailoz Mookherjea and Ram Kumar, the other members of the ‘Delhi Shilpi Chakra’ group were Satish Gujral, Dhanraj Bhagat, P. N. Mago, Amarnath Seahgal, Harkishen Lal, Rajesh Mehra and many more. In 1949, Ram Kumar held his first solo show at YMCA in Simla and sold his first paintings to Dr Zakir Husain, the then Vice-Chancellor of Jamia Milia Islamia University, who bought four paintings. This exhibition travelled to Delhi’s Town Hall and it was here that Ram Kumar met Claude Journot, cultural counsellor at the French Embassy, who invited him to visit France. Ram Kumar left for Paris by sea from Pondicherry. On his way, he visited the National Museum in Cairo and it was on the ship itself that he started learning French. After reaching the French capital, he studied painting under Andre Lhote, a well-known sculptor, painter and a renowned theoretician of art, and Fernand Leger. Lhote’s teaching method entailed sequential drawing of straight lines and curves and alternate use of warm and cool colours which inspired Ram Kumar a lot. “I visited several exhibitions and museums, saw all the art that I’d only read about. In one of the gatherings, I remember a (Henri) Matisse being sold for Rs 200. One can’t even dream of that now,” he reminisces. “When Raza came there, I went to receive him at the station. We used to meet often, go for exhibitions and visit galleries.

I even became a member of the French Communist Party, but that was short-lived.” He mingled with such notable radicals as Louis Aragon and Roger Garaudy and Paul Ellard. He spent that decade – the first decade of India’s independence – perfecting an elegiac figuration imbued with the spirit of tragic modernism. Infused with an ideological fervour, he drew equally upon exemplars like Gustave Courbet, Georges Rouault, Kathe Konitz and Edward Hopper, dedicating himself to the creation of an iconography of depression and victimhood. He wished to design an idiom that would portray, at a pitch of stylised intensity, the misery of the common people under the bourgeois capitalist order. Fifties onwards, Ram Kumar’s imagery underwent a process of synthesis, refinement and rarefaction. Unlike some of his contemporaries who trained in art abroad and decided to live a greater part of their lives outside India, Ram Kumar combined an internationalist desire with the need to belong emphatically to his homeland. Ask him about settling abroad like Souza and Raza, and he says, “No, I always wanted to come back home.” And how challenging was it to survive in Paris during the early fifties? Was it a completely different world, considering a lot was happening in art, unlike in India, where modern art was still finding its feet? “It was enlightening to be there. To begin with, I went by a boat with a one-way ticket sponsored by my father. I had no funds for a ticket back,” the artist reveals. In Paris, too, he met a French lady who was extremely welcoming of Indian tenants. “I was freelancing for an Indian newspaper from France and started writing when I was still in transit,” he says. As a young artist, Ram Kumar was captivated by, or rather obsessed with, the human face because of the ease and intensity with which it registers the drama of life. The sad, desperate, lonely, hopeless or lost faces, which fill the canvases of his early period, render with pathos his view of the human condition. His paintings of the late 1950s are then a reaction to the events he witnessed upon his return from Paris. He was acutely aware of his urban surroundings and the pervading sense of disillusionment and alienation he sensed in those around him in India. Writing about his Street Urchins in 1993, the artist said, “The reason I made these sorts of paintings, was that I was a bit inspired by the left politics at that time, there was an inclination towards the tragic side of life … it started here, becoming more mature in Paris. And even if I had not been inspired by politics, perhaps I would have made the same kind of paintings, because that is a part of my nature some sort of sadness, misery or whatever it is.” His early figurative works were a commentary of the socio-political conditions that the artist was surrounded by.” The figurative work on canvas shows the artist at a creative crossroads between abstraction and figuration. Within a few years he would remove all recognizable figuration and narrative from his paintings. The poignantly presented dramatis personae of the figural works of 1950-54, who grew starker and more angular during 1954-58, totally disappeared during the people-less, but picturesque Sanjoli (Simla Hills) and early Banaras periods when Ram Kumar painted landscapes (1958-61). He first visited Varanasi in 1960 where he sketched the Ganga ghats but without any people. Reminiscing about the initial experience of Varanasi, the artist says, “Banaras is important for me both as an artist and as a human being. The first paintings came at a point when I wanted to develop elements in figurative painting and go beyond it and my first visit to the city invoked an emotional reaction as it had peculiar associations. But such romantic ideas were dispelled when I came face to face with reality. There was so much pain and sorrow of humanity. As an artist it became a challenge to portray this agony and suffering, its intensity required the use of symbolic motifs, so my Benares is of a representative sort.” He was one of the first amongst his contemporaries to give up the figurative in favour of the abstract. But for him “things did not change overnight.

There were no major breaks where I said I won’t do it in this or that manner any more. It was more of a gradual evolution,” he clarifies. His technique too changed. His perspective of looking at things, people, places and the past; put together, his attitude to the continuum of time which was recorded in the psyche and the scene in terms of ‘action’ also changed. Between 1960 and 1964, Ram Kumar used architecture, houses, lanes, shadows and reflections for his imagery. In short, whatever man constructed, he used it as the basis for an abstract formulation. Manmade landmarks formed the architectonic of one aspect of the Banaras period (1961-65). By the late 1960s, Ramkumar decided to draw his images from both kinds of backdrop – of the late figural period, and of the early people-less landscapes. He took the abstract forms of the former period, and the textural impressions of the latter. He compressed the separate messages and imagery and made them become one significant, meaningful unit. This compressed expression, which carries in it the abstract predicament of man and the human and tactile feel of the living landscape, characterizes the style of his later paintings, and; in fact, forms its very substance. Ram Kumar’s work has certain interlocked aspects, expressionist-abstract aspects, which came to be freed, and completely sorted out only in the serene and superb paintings of the phase beginning 1970. After that all became history. Eminent art critic Richard Bartholomew has written in his article entitled ‘The Abstract as a Pictorial Proposition’ about Ram Kumar’s work: “In considering Ram Kumar’s work there are some passages from Wordsworth’s Prelude which apply. I shall cite two short specimens: “I was left alone Seeking the visible world, not knowing why. The props of my affections were removed, And yet the building stood, as if sustained By its own spirit.” This passage applies to the transitional period, when figuration and representational qualities gave way for a more quintessential expression –Sanjoli, early Banaras, middle Banaras periods.” Ram Kumar’s landscapes have been depicted either from the bird’s-eye view or from a worm view point perspective. His paintings should be stated as ‘mindscape’ because those works are not done on the spot rather all the works are from the artists’ memory. Ask him why doesn’t his work find no space for Indian essence/influence, and he states: “My works are neither the landscapes of any place, nor Europe, America or India.” Among the first generation of post-colonial Indian artists, including such luminaries as Souza, Husain, Paritosh Sen, Jehangir Sabavala, Krishen Khanna, Raza and Akbar Padamsee, Ram Kumar remains something of an anomaly on this list. Though a towering figure of post-Independence Indian art, who is highly sought-after by some of the most prominent collectors, you wouldn’t necessarily know it from his auction record. Just like the artist himself, who prefers listening to people than indulging in oratory and publicity gimmicks, his figures too appear all alone even in a group. Clearly for him, it’s more about the presentation of his art than the projection of his artistic personality.

How do you define the art scenario during the Delhi Shilpi Chakra’s days under the eminent fraternity like B. C. Sanyal, P. N. Mago, Dhanraj Bhagat and Dinkar Koushik?

Yes, that was the place where not only the visual artists, but also performing artists and literature fellows met. Apart from the artists you mentioned, there were many more like Jaya Appasamy, Harkishenlal, Rajesh Mehra and others.

In your university years, you had joined evening classes with Sailoz Mookherjea at Sarada Ukil Art School? How were they different from your classes in Paris?

When I was a student of Sailoz Mookherjea, I was just a beginner and learning the ABC of art. I was doing MA in Economics from Delhi University. That was my first introduction to art. Of course, I remember many profound talks with Sailoz Mookherjea. He was a very strict teacher. We were taught the basic elements of drawing. In Paris, though it was entirely different but the impact was undoubtedly remarkable.

Did Sailoz Mookherjea try to impart some kind of an Indian tradition also?

That issue was not there. In fact, he was giving us live classes, which is rather a western concept. We were supposed to draw still lives and models and get a basic understanding of drawing. When I think of Sailoz now, I feel that he was a real artist, in the true sense of the word, who was unfortunately not given due recognition which he deserved.

Even before you went to Paris, you were drawing figurative. Did you notice any changes after you came back?

Naturally. They were more mature and aesthetically more competent. After my Paris stay, I got more confident of my compositions and other pictorial elements.

In all your figurative paintings of the period, the protagonists look out of the canvas. They are never seen looking at each other and they never have their back on the viewer. The feeling is as if all relationships are missing on that side of canvas, and whatever relationship may be possible are only when the viewer returns their gaze, making up for the missing link….

That may have been incidental. I don’t think there was any mystery in showing their faces and not their backs.

Did you feel they were as alienated as they came to be interpreted later?

I haven’t analysed myself for what I was doing and why. Perhaps my own problems and all that got reflected in those faces. I don’t know. The important point is one’s own attitude which is determined by so many factors – known and unknown.

In your earlier short stories of that period, two themes run rather predominantly – financial insecurity and the desire to go away somewhere, as if all the unhappiness is because one is stuck in a place. Did going away mean something different, something better to you, too?

My short stories are basically confined to my own personal experiences in a lower middle-class home. Ours was a big family, and there was no dearth of problems and interesting situations. I could never be so bold as to run away from all that. It just happened that when I wanted to go to Paris, my father agreed to pay for my one-way passage by boat and I took the plunge. That was a big adventure of my life.

How did your father take to your leaving a secure bank job and taking up painting as a whole time vocation?

He gave in because I persisted. Since financial constrains were not so acute, perhaps he thought, I might as well go to Paris and seek my experiences. Also may be, it was something new to him.

Did it matter that in your formative years, you made friends with persons like Raza and Richard Bartholomew? Did they help bring out in your personality something which you were not aware of?

Before leaving for Paris, I had become friends with Raza. In fact, I had gone to Bombay and spent a month with him. He was very encouraging to younger people who did not have any background in art. At that time, this itself was a great comfort to get from people who were better known and had a deeper involvement in art. In Paris, however, we did not meet as frequently. Raza was more involved with the French art scene. I had found my company with the French leftist writers, painters, and comrades like all the revolutionary young people. But we used to meet together at some Indian friends’ places, like Baldoon Dhingra and Anil de Silva, who were living in Paris at that time. I had also taken a course in French language so I could get around more easily in that society. My friendship with Richard Bartholomew started in Ranikhet in 1952, when we were sharing a cottage. It lasted for almost 30 years, i.e., till his immature death.

Did you bring back any works from Paris?

No, I didn’t do much painting in Paris. Mostly, I was doing drawing in the school. In Paris, I tried to improve my drawing rather than to work oils, which I could always do back in India. I had already exhibited my oils here before going to Paris.

Did you feel pressured that because of your training in Paris, you had to emulate some of the latest trends there?

No, there were no trends like what emerged later on. At that time there were some up and coming painters. Of course, the masters were still around. Picasso, Matisse, Chagall, Leger – they were all very active. Their shows were frequently organised in museums, in galleries.

Before you started the Banaras series, was there an interim period when you were leaving behind the figurative?

That was in 1958. It was during my six-month stint in Paris when I had rented an apartment to work there. It is a pity that I don’t have any records of that period now. I was slowly coming to a phase where figures were becoming more and more obscure. Those works were not like a Sad Town or Vagabond. Of course, one could still see a figure, but it was not quite the same thing. The landscape and figures were merging into each other in the forms. Also, once Husain and I got this idea of sketching on the spot and we went to Banaras. It was a unique experience. We would part in the morning and go in different directions and meet only in the evening and show our sketches and drawings of the day to each other.

What surprises you in life? In literature, in art…

The age of getting thrilled is over perhaps. One is confronted with one’s own self. There is a struggle for peaceful existence. In painting, sometimes one is looking for the accidental. For instance, if one is not happy with the results of a particular colour, one can always put another colour on top of it. There are immense possibilities to get at the desired tones and textures on a canvas, while in writing, once a basic text has been written, the options are very limited, no miracles happen at a larger stage.

How often does the accidental happen in your work?

Not very often. By temperament, I am not a very adventurous person. I won’t take a colour all of a sudden, say red against red; trying to see its effect. Whenever I have done that, I have failed miserably. That is why you don’t see many drastic breaks in my work. There are not many moments when I have confronted a completely different thing.

Why don’t we have a revolution in abstraction in India?

For me, very importantly, abstraction is like the Zen practice of the Chinese artist and this is a process to discover the original element akin to the soul’s nonintention rather than mind’s intention for realising the being. We are not here to becoming something, but we have already come prepared with what we actually are.

Touching 92, you are still regularly working. What is the inspiration behind this spirit and how do you feel?

Due to old age, my fingers tremble. But when I hold the brush, that shaking stops magically. I don’t know the reason behind it. I think there’s some spiritual power that enables me to continue my practice. I want to continue working as long as I can

What is your opinion about contemporary Indian artist or the future generation?

To express my view in this regard, I would say that the present generation of artists should focus more on free hand drawings, which I think is the foundation for being a perfect art practitioner. An artist has to be sound in both learning and practicing. Then only one can deliver the finesse of an artwork.

Niren Sengupta’s canvas can add colour to the dullest room. A man of sublimity in art, he invokes motifs from animal world, birds, contemporary life and spiritual existence. Team ART SOUL LIFE in a free-wheeling interview with the artist

Tall, lean frame with joyful eyes, sums up the artist Niren Sengupta’s warm persona. An aura which binds you instantly. An accomplished artist, a devoted teacher, a firm believer and an eternal optimist, Niren Sengupta is everything a teacher aims to be. Hailing from a rich business class family of Bengal, which was into jute trading, Sengupta never went through the pangs of poverty many top echelon artists flaunt as the path to success in the world of art.

“We were six brothers and except for one, all of us were into art. In fact, we had a great time reviewing each other’s work,” recalls Sengupta. Art may not be in the rich business class family but surely it was in the genes. Niren’s brother Rabin Sengupta is another well-recognised artist. “Yes, my mother was very artistic in her own way. She would make very beautiful alpana during festivals.

Today I feel sad that in those days we didn’t have any camera like today to click the photos of the beautiful alpana. Actually, my mother was my inspiration to be an artist,” he reminisces.

Basically, a science student, Niren Sengupta later landed in Calcutta Art College. “In those days, every father aimed to make their children doctor or engineer. I had to complete my graduation in science but my drawing was so beautiful the teachers kept my practical file in the college,” laughs Sengupta. “Later I got admission in Art College. Surprisingly, they did not teach water colour in the course. Most of the things I learnt on my own. In fact, this aspect helped me improve the syllabus of Delhi Art College,” the teacher recalls.

Before coming to Delhi Art College, Sengupta taught in BTS College. “I would hire a boat and lie in the boat enjoying the sky. I would just drift in the river,” but this is not what he was to enjoy for long. “One day the principal of the college came to me with a paper. He said there is a vacancy for the Principal of Delhi Art College. On his insistence I came and I got the job,” he says, as if thanking someone up there. “You know, I have faith in God and my ancestors and I believe in myself.”

A deeply spiritual person, the artist never let it reflect blatantly in his works. “I follow the Rama Krishna Mission and often visit the Belur Math in Kolkata. Swami Vivekanand has left an indelible mark on my life. In fact, the head of Ram Krishna Mission in Delhi would often invite me. These things helped me paint well but there is no conventional depiction.” His works are expressions of inner reflections laced with beauty and serenity. He immerses himself in the spiritual and aesthetic sphere at the same time seeking creativity in communion. “There is no definition of art. Several people experience the inspiration from within but very few have the skill to express themselves,” the teacher reflects. “Art, music, writing all are inter-related. The same recital by the same musician is different on different days. In the same fashion, I can never rate my work as good or excellent. It is a kind of expression which is never 100 per cent complete,” he adds. “Sometimes, I criticize my own work,” Sengupta grins.

Niren Sengupta’s canvas can add colour to the dullest room. “I love to use bright colours. Earlier, I worked a lot in black and white. But after I visited the tribal areas, I fell for the bright colours. I feel if bright colours pep up my mood, it can work for everyone.” A man of sublimity in art, he invokes motifs from animal world, birds, contemporary life and spiritual existence. He is able to convey the emotional outcry through strong colours and soft hues. There are small strokes, precise lines and volume, all in the same canvas. Niren’s compositions play with and balance contrasting colours from the realm of warm and the cold colours to present a harmony of possible hope.

Even if Niren cannot be slotted as a painter of abstracts, a feature that separates his paintings from many of the abstract painters is the latter connect with nature. He does not paint landscapes. The underlying unity is emotion in them all. They all are spiritual. His movement in the direction of spiritualism is very clearly indicated in of his paintings.

During his tenure as the Principal of Delhi Art College, Niren Sengupta must have come across several talented artists but he mentions three names which are especially close to his heart. “I see great talent in Neeraj Goswami, Shampa Das and Satyen Ghosal,” he mentions them with a twinkle in his eyes. Not to forget some of his contemporaries Shobha Bruta, Jai Zharotia and Kalicharan Gupta, both of whom were his students.

Niren Sen Gupta has been teaching for more than three decades at graduate and post graduate levels in reputed art institutions. He is a member of Calcutta painters and executive member of Academy of Visual Media, New Delhi. Decorated with many highly esteemed awards like AIFACS Award and NBT Award, Award for Humanity Udayan Care, Niren’s works can be found at well-known galleries like Lalit Kala Akademi and with many private galleries in India and abroad.

Once a teacher, always a teacher. Niren does not shy away from offering a word of sound advice to the young artists, “do not paint to sell. Paint to enjoy art and believe in yourself. Have faith in God and your ancestors, they will help. I give two options to the young people because they may not have seen God but surely, they have seen their ancestors.” This coming from the master of colours and composition who moves beyond the trance to romance in a single stroke is worth philosophical and artistic rumination.

Thiruvananthapuram-based Simi Rajan, who creates enchanting works of art in attractive colours and amazing details, shares her art journey with N. Kalyani, and what goes into making her stunning works

You were teaching at a school. What were the subjects you taught? How was the experience?

started my teaching career at the Rai School in Delhi in the year 2000. I taught science for classes 6, 7 and 8, and biology for 9 and 10. I always tried to go beyond the textbook and to help my students understand the fundamentals of biology better through experiments and diagrams. One of my favourites teaching preferences was drawing diagrams across the blackboards and watching the kids interact. Through my teaching years, I explored different methods and activities to help students understand the subject better. This helped them think outside the box. My classes were always appreciated for creative and innovative thinking. I thoroughly enjoyed my teaching years and connecting with young minds. I’ve always believed that we have so much to learn from youngsters!

You moved from teaching to pursuing art. When did you make the move? And what prompted you to do so?

Teaching helped me earn some money without taking away attention from my growing daughters and made those years very memorable for me. Both my daughters are creative, being into sketching and painting. And they made me realize my deep interest in art. Once they left for higher studies, I was ready to give wings to my passion. In 2014, I gave up teaching, and my art journey began in Trivandrum. I started exploring different art styles to know which resonated with me.

You are into mural painting. Please tell us more about the art form.

Mural paintings are the oldest human art form, as cave paintings at numerous ancient human settlements suggest, and can be found all over the globe. The mural paintings I got attracted to are old traditional paintings depicting Hindu mythologies painted across temple walls and palaces in Kerala. They point to an abounding tradition of mural paintings mostly dating back to the period between the 9th and 12th centuries when the form of art enjoyed royal patronage. Sanskrit texts also discuss in detail the style and effectiveness of the five dominant colours in mural paintings: scarlet red, Prussian blue, sap green, yellow ochre and black.

What attracted you to mural art? And how did you train to be a mural painter?

I shifted to the beautiful state of Kerala after my marriage. Here I was introduced to this special traditional art that inspired me deeply. I was a regular visitor to Guruvayoor temple. and the murals of Guruvayoor and Padmanabha Swamy temples are fascinating. I started learning the depths of mural art at Guruvayur Mural Art Institute in 2915 under the guidance of K.U. Krishnakumar. Subsequently, I also got trained by Prince Thonnakal, near Trivandrum, who helped me add an x-factor to my work. Learning from different artists and at different places enabled me to get a holistic understanding of the art and find my own space in the world of mural art.

How do you execute the murals? What are the paints amenable to making murals? How do you create details in the murals?

I first draw the intended picture on canvas with an HB pencil, and then use acrylic paints. And long hair brushes are used for painting. In the Kerala style of mural painting, it is basically five colours that are used. If we want any other colour, we can mix 2 to 3 colours out of the 5 basic colours. Black ink is used for lining the painting after it is done. I feel that the detailing in a painting happens on its own as I get involved in the theme of the painting. The day I have to do a difficult part of a painting and contemplate how I will do it, I pray during my pooja time and seek blessings to paint in the best way, and surprisingly it happens. I am really thankful to God. While painting, I enjoy listening to spiritual music. In murals, at first, we always make the ornaments, then comes the apparel, after which comes the surroundings and, in the end, the face and the figure. Lastly, black lining is given for impact.

What other art forms do you engage in?

For me, art is a way to add color and fun to life. I like to explore different art forms, ranging from Madbubani folk art to fabric painting to modern art. I also like to express my creativity through gardening, dancing and even cooking!

Going back in time, when did your interest in art take root?

I was born in Patna, Bihar, and brought up in Ranchi, Jharkhand. I always participated in cultural programmes. I remember bunking classes to paint props for school events. That’s the only time bunking a class resulted in praises! In college, I was able to explore different painting styles. It was here that I was introduced to the world of art and design. My father still has the first painting I ever made displayed in his living room!

Coming back to your murals, which places are adorned by your works?

I have created a series of mural paintings for different spaces. These places include the Chitragupta School of Management at Patna, and the Bhopal museum. It takes time to create a mural painting. By the time it is over, there is a taker. I just completed a 15’x3’ Dashavatar (the ten incarnations of Lord Vishnu) acrylic painting on canvas based on request. And I am currently creating a 15’x3’ mural painting based on Sundarkand (from the Ramayana). I hope this beautiful art form gets more recognition.