Contemporary India’s evolving art scene and PAG

The response of PAG to the challenges – social and artistic - apparently was apolitical. Their grouping together in the very year of Independence was purely coincidental. What the members of the group were more exercised and concerned about was the fact that art as practised till that point in the country had to change. Their collective manifesto called for a break with the past traditions and its stultifying cultural and artistic constraints.

PAG was joined for a brief while, in the fifties, by artists like Mohan Samant, Krishen Khanna, V. S. Gaitonde, Akbar Padamsee, Ram Kumar, Tyeb Mehta and Bal Chabda. The group made a major contribution to India’s contemporary art movement by seeking a new form that could describe the reality around post- Independence. Such myriad movements and influences have greatly enriched Indian art.

The country's independence in 1947 might have actually seemed like the catalyst for a form of expression to match the spirit of the occasion. However, the so-called 'artists of transition' like K.K. Hebbar, Shiavax Chavda, Sailoz Mukherjea and N.S. Bendre were more engrossed in a contemplation of life's simpler, smaller pursuits through their art practice….

Fast track to the 21st century and you realize that dynamic contemporary Indian art and the talented artists are mapping global trends as well setting their own benchmarks, drawing the attention of the global art world with their innovative art practices and novel themes.

In the backdrop of overwhelming attention being provided to contemporary art from Southeast Asia, interest in Indian art is rapidly rising. Avid art lovers, tuned to the churnings in contemporary art globally, well understand and appreciate the fact Indian art is growing in stature.

A new generation of artists from India is slowly but surely starting to acquire centre stage in the international contemporary art arena. It is not surprising that astute collectors are scrambling to acquire works of sculpture and painting from the country.

Morphing zoological, human and mechanical realms

Artist Rohini Devasher’s works explore and bring to the fore boundless possibilities contained within nature; both the practice and the imagery mimic processes, where organisms are born, breed and multiply. A heightened sense of complexity is created through multiple layers and recursion.

She draws upon and morphs diverse elements of the botanical, zoological, human, and mechanical realms; machine, animal, flesh, plant, basically different elements - organic and inorganic – that all combine to fashion a hybrid with obscure antecedents. The outcome is somewhat unclassifiable, a category unto itself. Principles of growth, its rhythms, patterns, and tensions form core of her primary artistic concerns.

Among the important awards and residencies she has won are the INLAKS Fine Art Award and the KHOJ International Residency that she describes an exciting experience offering her a chance to interact with contemporaries from various disciplines and geographies and providing an insight into their ideology and practices.

On her part, the artist has been trying to explore some ideas put forward in Goethe’s Botanical writings in which Goethe’s search for “that which was common to all plants without distinction” led him to evolve a purely mental concept of the archetypal plant. This archetype, when translated into art by some of his followers, resulted in what one writer has described as a ‘botanists’ nightmare’ consisting of all known leaves and flowers combined around a single stem.

For example, in her debut solo, entitled ‘Breed’, she engaged artistically with Goethe’s idea of the archetypal plant. This archetype or ‘Urpflanze’ describes’ - one basic form that manifests in the multitude of single plant individuals- harbors the potential for endless transformation, by which manifoldness is created out of oneness. What results is hybrid organics that float in a twilight world between imagined and observed reality…forms in constant flux, in a state of continuous transformation. They could be denizens of a science-fictional botanical garden, specimens in a bizarre cabinet of curiosity or portents of a distant future.

K.G. Subramanyan’s art and life

Attaining a subtle synthesis of linear Indian folk tradition and modernism, K.G. Subramanyan’s immaculate sense of design, especially his handling of pictorial space, exudes Indian ethos. His paintings address socio- political issues, and touch upon disparity inherent in public and private spheres. Unraveling the dichotomy, his work - often autobiographical and narrative, it tends to draw from self-introspection and ruminations.

Born in 1924 in North Malabar, Kerela, he first studied economics before joining Kala Bhavan, Santiniketan (1944-48). His love for art received a definitive direction there. It was a liberating and invigorating experience for the talented young artist who got an opportunity to hone his skills under the tutelage of masters like Binode Behari Mukherjee, Ramkinkar Baij and Nandalal Bose. He grasped three basic concepts as basis of art, namely individuality, nature, and tradition, which he steadfastly stuck to, even after being exposed to Western Modernism.

During his formative years, he was influenced by the nationalist movement, and was also imprisoned for taking part in the 1942 Quit India movement against the British rule. Later he went to Slade School of Art, University of London on British Council Research Fellowship (1955-56).

Apart from a series of solos over more than fifty years of a distinguished career, his work has also been featured in several group exhibitions, including 'Adbhutam', CIMA, Kolkata; 'The Art of Drawing', Guild Art, Mumbai; 'Pause', Sakshi Gallery, Mumbai; 'High-Light', courtesy Sakshi (all in 2011); 'Modern Folk', Aicon Gallery, New York (2010); and 'Tracing Time', Bodhi Art, Mumbai (2009), among others.

His select participations include 'Ethos V, Indigo Blue Art, Singapore; 'Roots in the Air, Branches Below', San Jose Museum of Art; 'Time Unfolded', KNMA, Delhi (all in 2011); ‘Modern India’, courtesy Institut Valencià d'Art Modern and Casa Asia (2008-09). He was awarded Padma Bhushan by the Government of India in 2006 and Padma Shri in 1975. A recipient of Lalit Kala Ratna Puraskar (2004), he also won the Fellowship of J. D. Rockefeller III Fund (1966) and Medallion of Honorable Mention, Sao Paulo Biennale, Brazil (1961), among other honors.

Inspirations and influences behind Barun chowdhury’s practice

His work is akin to a realistic dialogue related to what he feels at a given point of time, a sort of extension of his own mindset.  He also doesn’t mind infusing an autobiographical element by using his own images as a representative of the common man. Barun chowdhury is invariably concerned with the honest depiction of the world around, looking to emphasize relation of ‘the social male’ to society and prevailing social issues.

The found images and other visual inputs in his canvases are somewhat autobiographical and photographic at times – resembling personal and archetypal iconography. Often he reuses and transfigures these images, to manipulate them according to demands of each piece. His works are elaborately titled, which he sees s a very important element of his thought process.

Focusing on sensitive socio-political issues, consumerism, fundamentalism and the identity of mankind through his oeuvre, he feels, Indianness doesn’t reside in traditional influences but more in an intrinsic evolving Indian sensibility. No surprise, his themes are related to instances or issues pertaining to ‘real’ India – revisiting the idea of unity and our deep-rooted culture.

Whether one terms him a printmaker or painter hardly matters to him for what’s of more significance is the impact whether it’s sketching, painting, serigraphy or even 3 dimensional works, they just serve as a means to underline his intent and ideas and to maximize the overall effect of his works.

The choice of media tends to depend on its ability to produce the end result and impact of the particular subject matter he has in mind. He has worked in a wide array of media like acrylics, pencil, watercolors, oils, pastels, and the 3 dimensional employing moulds, mirrors, glass etc, among others. Serigraphy is his favorite medium, as it lets him place an image of his choice anywhere. Since he doesn’t usually harbor a preconceived n, it s allows him to make changes even later on.

An artist who tries to fathom prevailing socio-political scenario

Artist Barun chowdhury’s oeuvre carries a vibrant and vivacious visual appeal. On a closer look, one can fathom its message, a sharp critique of today`s complex and turbulent socio-political scenario.

The dramatic changes and constant transition of life from one spectrum to another as well as drastic transformations in surroundings often lead to confusion and chaos. There is uncertainty about one’s very purpose of existence and survival. This is where he tries to position his artistic exploration.

The figures build a space and platform of their own so as to search for the relevance and context of the events and happenings today. The artist poses fundamental questions like, who we are, why we are here and where we are heading not proclaiming to possess easy answers to these issues; he merely articulates emotions or situations that people can spontaneously identify with.

His work continually reflects his ideas and musings on the prevailing political and social scenario. Narratives usually are presented in a storyboard format. The entire canvas is often segregated into separate boxes that suggest differing time frames and perhaps the lack of permanency. This, most importantly, points to a belief on the artist’s part that “Reality is not really what it seems to be from the outside or periphery…”

Born in a non-descript village in the state of West Bengal, he finds it easier to associate with the rustic, rural people who constitute a large chunk of the Indian population. He strives to fulfill what he earnestly feels to be his duty as a socially conscious artist: acquainting us with his perception of the global situation as it evolves today.

The artist has several honors and awards including The Commonwealth Art and Craft Award, United Kingdom (2003-04); The Charles Wallace India Trust Art Award, Glasgow (2003); The 65th All India Exhibition of Art, Amritsar (1999); Annual Award of Avantika, 7th All India Exhibition, New Delhi (1999); Scholarship Award of AIFACS, Delhi (1998); and Government College of Arts and Crafts, Kolkata (1992,’94,’96); among others.

Known for using popular motifs from immediate milieu

He is known to be an artist who prefers realistic imagery, opting to shun the abstract, believing that the viewers have a chance to relate to and to identify with the fathomable images.

Barun chowdhury makes use of popular and kitsch symbols abundantly in his works in an endeavor to retain a familiar ‘Indianness’ - not just traditional but also the modern crammed cosmopolitan culture. It’s a blend of ancient culture and modernity.

Born in Khelar village and now based in Baroda, he did his Diploma in Painting, Bangiya Sangeet Parishad, affiliated to Rabindra Bharati University, Kolkata (1989-91); Bachelor of Visual Arts (Painting) from Government College of Art and Craft, Kolkata (1991-96), and M.F.A. (Graphics) from Faculty of Fine Arts, M.S. University of Baroda (1997-99). Among his selected solo exhibits are ‘The Season of Discontent’, Gallery Aakriti, Kolkata (2008); ‘New Prints’, Glasgow Print Studio, Gallery -III, Glasgow (2003), and a show at Nazar Art Gallery, Baroda (2000).

His significant group shows include 'New Perspectives of India', Avanthay Contemporary, Zurich (2009); 'Freshly Squeezed: The Young Indian Contemporaries', Suchitrra Arts, Mumbai (2008); ‘Freedom: What it Means To Me’, Aakriti Art Gallery, Kolkata; ‘Confronting Globalization’, MonArt Gallerie, Kolkata; ‘Modern to Contemporary’, Gallery Kolkata; and ‘Ten Days in Aurangabad’, Institute of Contemporary Indian Art (ICIA), Mumbai (all in 2009).

His noteworthy participations are 'The Miniature Format Show', Sans Tache Gallery, Mumbai (2009); 43rd National Exhibition of Contemporary Art, Lucknow (2004); ‘Harmony Show’, Nehru Centre, Mumbai (2004); ‘Winter Annual Exhibition of Contemporary Art’, Gallerie 88, Mumbai, Kolkata and Delhi (2002); ‘Harmony Show’, Nehru Centre, Mumbai (2002, 01); and ‘42nd National Exhibition of Art’, Jaipur and Delhi (2000).

The socially conscious artist deeply analyzes today`s complex and turbulent socio-political scenario through his body of work that continually reflects his ideas on issues like consumerism, fundamentalism and the identity of mankind.

Noteworthy Indian artists who relished still-life

Though decorative fresco murals & mosaics with still-life themes appeared in antiquity occasionally, it wasn’t until the Renaissance that the genre got an independent identity. The masters back home have dabbled in it, for that matter, even most senior artists as well. It would not be much surprising to follow that some of the contemporaries too tend to doodle it! Though not many of them now perhaps spend hours in their studios on still-lifes. But there were many before them who did so with dedication!

Late FN Souza’s still-life is an interesting case study. The belligerence with which the artist rendered stalks of flowers, mostly, can scarcely be ignored for their angry and stark lines, the impatient usage of impasto, signifying an incredible energy, which breathed life onto canvas & paper. On the other hand, KH Ara’s dreamier, almost idealistic form, turned the basic imagery into a rendition in its purest and simplest form. He painted still-life works for several years. It was a form he invariably came to be identified with! Ara painted it with real passion.

Throwing light on other artists, who one might associate with the subject in recent times, art expert Kishore Singh had made mentioned in one of his essays of the works by Jogen Chowdhury whose few powerful strokes are enough to communicate the idea. The art expert adds:

“The interesting finds are Laxman Pai whose renditions are based on strict outlines that reduce the containers, or fruits and flowers, to an almost geometric rendering. Or take Prokash Karmakar at his voluptuous best, Jyoti Bhatt’s whimsical renderings, R B Bhaskaran’s almost comic distortions, Chittaprosad’s extravagant and Rabin Mondal’s expressive styles so at odds with their image as “serious” artists. There are Gopal Ghose and HA Gade’s modernist renderings, and very early (and rare) works by SH Raza."

Renowned artists from Santiniketan like Rabindranath Tagore, Nandalal Bose, Benode Behari Mukherjee’s are noteworthy in this regard. In essence, still-life works help compare styles of different artists. This is why perhaps many collectors acquire works of still-life, and the best of these do fetch respectable prices.