A fine blend of photography techniques, realism and painterly vision

Photorealism as a painterly tool to express on canvas is not exactly a recent phenomenon. Painters from the US and Europe had been seeking inspiration from photos since the early era of photography. Throwing light on its evolution, art scholar historian Dr Alka Pande notes: “The importance of photography in the enterprise of finding an interface between documentary ‘evidence’ and the social imaginary is gaining ground.

Even for itself, photography may be said to have enlarged its intrinsic value as an art form by entering the expanded frame of installation art. Thus it begins to share the peculiarity of the phenomenological encounter the museum/gallery space encourages.” For record, the movement spurred out of the earlier Pop & Minimalism movements. Like the preceding pop artists, the photo-realists wanted to include everyday life scenes and signage, for breaking down pre-conceived hierarchies of subject matter.

They drew from commercial imagery and advertising. Many purists perceived this movement as a setback to modern abstract painting. Photo-realists typically would project an image onto a canvas and use an airbrush for reproducing the effect of a photograph printed on a piece of glossy paper. Estes argued that the painting was merely the technique of finishing it up, involved primarily with the photograph. Flack chose to update the 17th century theme of vanitas by projecting slides of certain opulent still-life arrangements onto canvases, alluding to the fleeting nature of most material things.

Artists around 1430, centuries before anyone could suspect it, secretly used camera-like devices, including the lens, the concave mirror and the camera obscura, to make realistic paintings. Those like Caravaggio, Lotto, Vermeer and Ingres knew the magic of photographic projection. They saw how good these devices were at projecting a three-dimensional world onto a two-dimensional surface.

This was the finding of a thesis ‘art and optics’ by David Hockney who concluded that they knew how good these devices were at projecting a three-dimensional world onto a two-dimensional surface. What is equally curious about the process is that while the subject matter is generally man-made objects set in an urban environ, many of the works are strikingly and surprisingly devoid of signs of life – as if resembling mere architectural models.

“The only constant is your embracing life…"

Paris-based Galerie Dominique Fiat recently hosted a series of her new works. A performance and gripping photographs literally ‘embodied’ words- made them flesh-wherein she cut meat into ‘Keywords’, which reflected on utopia’s and dystopia’s, affecting us. The artist extended the visible thin line wherein words would act as corporeal manifestos to analyze the world around, as seen and perceived by her. Deftly engaging the political through an astute aesthetic investigation of text as well as theory, she demonstrated apparent interest in the primacy of touch right alongside the visual.

Elaborating on the works, an introductory note stated: “In ‘Kash (for Kashmir)’, she used baroque ceiling rosettes, covering them with white velvet and then embedding them with photographs of people, landscape and flowers. Only Kash (meaning ‘hopefully’ in Hindi), is retained in the word, marred by a black dripping line of blood-filled political conflicts.” This line of thinking was the binding thread in works that investigated a human concern with both personal and societal loss and regeneration. In ‘Babel’, she presented the chaos, cacophony and disillusionment in lives presently, along with the joy, beauty and hope that made it all worthwhile.

Anita Dube has created works that point to a testing of existing perceptions. Through her work, she tackles fragmented realities - deftly or directly, as her theme demands. For instance, ‘Illegal’, a persuasive and compelling series by her, was a direct engagement with the received image, in this case, the print and television imprint of the prolonged Iraq war, of scenes of loss and degradation and a numbing sense of ubiquitous fear. Encapsulating her art processes and philosophy, she mentions that she sees some of her work executed, like in a daydream, a vision.

The artist only needs to make it real. At times, they are result of pure process, gradually unraveling. She sums up to say: “The only constant is your embracing life so that the work can materialize. There’s no stepping back, being in a cozy place of comfort. You’ve to completely soak in both the positive and negative experiences. Hence I say it’s a rather painful and difficult place to be in. You neither can hide nor lie to yourself; everything is too palpable…"

Exploring the self, gender and sexuality

Anita Dube’s aesthetic language incorporates ubiquitous objects, everyday materials and images that together resonate with a meaning far beyond perceived local and prosaic associations. Her work brings together experiences of mortality, desire, pain and pleasure – all rolled in one.

She looks to explore the self, gender, sexuality and fundamental human concerns. Employing a variety of found objects drawn from a wide array of domains and sources like the industrial (foam, plastic, wire), the somatic (dentures, bones), craft (threads, beads, velvet, sequins, pearls), the ritual and the popular (ceramic eyes), she handles a divergent range of subjects to unveil and share her concerns.

While looking to address the curious concept of ‘skins’, she would fastidiously wrap and cover certain objects referencing fragile female concealment. The distinguishing marks suggest femaleness. Apart from this, shapes resembling nature are collated with industrial elements that act remind us of dicey environmental conditions often taken for granted by a certain section of populations, but valued by the other. She quips: "Where I come from in India, we are used to save everything; it’s re-used. The essential logic of capitalist forces is to have more, the culture of excess and hence also to generate more waste."

In her unusual works of art, natural materials and organic forms play a significant role. Employing various found objects sourced from the diverse realms of craft, industry and the body, coupled with readymade objects, she investigates basic human concerns related to personal & societal loss/ regeneration. The intriguing installations can thus be contextualized in relation to rather ponderous topical things.

Born in Lucknow in 1958, Anita Dube completed her graduation in History from the University of Delhi, and later did her masters (art criticism) from the Faculty of Fine Arts, M. S. University, Baroda. Trained as an art critic, she avidly read different texts, not stopping with religion alone. In her own life, art started therapeutically. According to her, the therapeutic power is one of its great values.

Owais Husain’s life journey

This artist perhaps has the most illustrious surname among the present generation of Indian artists.

MF Husain, his late father, remains our most popular, most established and the most celebrated modern painter. Having identity as the maestro's son has been a matter of pride, on one hand, and a burden of expectations to carry, on other hand; the proud son has done so with élan. Owais Husain is taking the legacy of his father ahead by walking into his footsteps and carving a niche for himself as a multimedia artist of immense talent and skill. He has built a reputation of his own.

Owais Husain, the low-profile son of a legendary artist, he mostly divides his creative time between Dubai and Mumbai. Born in 1967 in Mumbai, he studied at Lawrence School in Sanawar, Simla Hills, later seeking artistic pursuits like painting, drawing, textile printing, dyeing, photography and lithography. The artist went on to join the Sir J.J. School of Art in Mumbai. After completing his graduation (Painting) from Sir J.J School of Arts, Mumbai in 1990, he was in New York for a year and later set up a studio at the Kanoria Centre for Arts, Ahmedabad.

When his illustrious father lived in self-imposed exile in 2006 away from his beloved homeland, Owais began getting closer to him emotionally. Their tender bond received a fresh lease of affection in the face of adversity. In January 2010, the artist-in-exile opted to become a citizen of Qatar. His son had then remarked: "Giving up citizenship of India saddens my father. But they say that you can take a man out of the country but you cannot take the country out of him." The hurt and pain remained until the very end, but there was no bitterness.

Apart from a book of poetry and images, he has composed and choreographed an experimental opera for an installation in Doha and Qatar. Mostly figurative, his work dwells on those transfixed moments between ubiquitous people and peculiar situations. His assured brush strokes create thickly delineated forms in constant movements.

A different approach to painting sets apart the late legend’s son

Owais Husain’s recent body of concept and multimedia works that blended art, music and poetry were presented at Mumbai-based Tao Art Gallery last year. The series, entitled ‘3 Worlds’, received critical acclaim. For it, he explored different levels of existence divided into three segment; namely Heart, Mind and Spirit, which implied that each of us was essentially a storyteller.

The motifs and the iconography in his paintings and charcoal drawings on paper suggested that the heart never really belonged to one. The installations of three life-size Siberian tigers’ replicas, limestone rocks from the Syrian deserts and acrylic sheets signified the fragility of life and the living beings. A unique multimedia blend comprised beds in the centre each carrying a pillow book of poetry, symbolizing the seven stages of love.

This was his first solo in Mumbai after a gap of almost 10 years. Renowned galleriest Dadiba Pundole had mentioned: "He does not carry the baggage of being an illustrated father's son.” He knows better as the Pundole had showcased many of his father’s works. Comparing the two, the expert noted: “He (Owais) has a different approach to painting. It’ more intense in a sense, and tends to be autobiographical in nature. This makes it difficult to get into the work to some degree. However, the element of the narrative is strong."Owais Husain's show is entitled ‘Three Worlds’.

Describing how ‘the exiled artist's son is staying true to his name, an AFP report stated: “In a room in the basement of the gallery, the walls are scrawled with messages. In the centre, two beds are covered with balls of red wool, as music -- also his own composition -- floats through loud speakers.

The influence of his father can be seen, as he admits to being ‘fascinated by the imagery of the (human) figure’. The 94-year-old, once described as "the pioneer of post-Independence Indian modern art", gave up his Indian citizenship earlier this year. Owais Husain seems reluctant to talk about his father, saying only that he advised him against embarking on a career as a painter.”

Soak in the glory and richness of an art treasure of a passionate collector

The late art collector Jehangir Nicholson had always had a desire to share his collection with the common people for them to soak in its glory and richness. The dream has finally been fulfilled.

The renowned art patron’s comprehensive collection of nearly 800 paintings, drawings prints and sculptures, spanning nearly seven decades has recently been thrown open to the public. It comprises several monumental works by over 250 Indian modern and contemporary artists that now have become a prized possession now.

For the humble fellow who spent major part of his life striving to construct a museum of his dream, this is a perfect homage. A gritty man, he had also requested the government of Maharashtra to give him some space in Mumbai for the proposed structure, but to no avail. In his will, the passionate collector had sought the liquidation of his entire assets for supporting a foundation, which would manage his collection.

He had appointed his lawyer Kaiwan Kalyaniwalla and nephew Cyrus Guzder as trustees. With the CSMVS director Sabyasachi Mukherjee’s support, the two convinced the museum board for accommodating Jehangir Nicholson Art Foundation (JNAF) collection at its historic structure. It’s a perfect partnership as a proud legacy finds an apt resting place while the museum can treat as an extension of its own ancient Indian art collection.

Jehangir Nicholson bought his first artwork in 1968, a year after he lost his beloved wife. He bought a Sharad Waykool painting, titled ‘A Scenery’, for Rs 600 from the Taj Art Gallery. After his life partner’s departure, he found succor and solace in his growing attachment with paintings filled a personal vacuum created after his wife’s death. This feeling was quite palpable in the way he chose to address his works, using terms of romanticized love, at times.

The first canvas he acquired cost him Rs. 500. It was ‘A Scenery’ by Sharad Waykool, which he spotted at the Taj Art Gallery. He gradually began visiting the Chemould and Pundole art galleries on a more regular basis, and was introduced to young painter Laxman Shreshtha (just 24 year old then) by the founder of Pundole, Kali Pundole.

Spotlight on the Jehangir Nicholson Gallery

The Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly called the Prince of Wales Museum) now houses the Jehangir Nicholson Gallery. A major portion of its recently constructed 2nd floor annexe is now taken up by the captivating collection, a visual treat, a true testament to the zest and passion of an avid lover of modern Indian art.

The keen collector travelled all across India to view and buy art cutting across different forms, themes and mediums. He progressively became more meticulous and methodological about his quest of collecting; getting more and more conscious of the fact that he was pursuing his dream of a museum. His collection gradually became archival in nature. His constant rearrangement of his treasured art collection pointed to an obsessive streak in him. All these traits are evident in the exhibition of his vast and rich artworks in Mumbai.

Rightfully, Jehangir Nicholson’s collection is considered among the richest and most diverse in its vastness of modern masterpieces that he bought from painters like Jitish Kallat, Sudarshan Shetty and Baiju Parthan, as well. A key indicator of its intrinsic value is reflected in two of Souza’s milestone works – ‘Mammon’ (1961) and ‘Death of the Pope’ (1962) – that belonged to him. He engaged actively and identified with his collection and loved discussing his coveted possessions in great detail and depth, facets that are inherent to a genuine and committed collector, who has left behind a rich legacy.

Incidentally, Laxman Shreshtha introduced him to several other talented artists like Akbar Padamsee, Tyeb Mehta, MF Husain, SH Raza etc. Also on his advice, the enthusiastic collector made umpteen studio visits and developed close bonds with prominent artists like Krishen Khanna. Jehangir Nicholson’s understanding of contemporary art was sharpened by his acute observation. His debates and conversations with art practitioners, gallery owners, scholars, critics and reviewers further enhanced his knowledge and grasping of art history as well as trends.