Visit to Lonar was out of this world experience.
Thursday, December 31, 2009
Thursday, December 3, 2009
Lonely crow
This is one of the art work i have done for a book written by Atul Kulkarni on urbanisation. it is collection of short essays, basically observation of a sensitive person about changes taking place in big cities. The lonely crow is sitting on a hanging wire in air and wondering about cacophony below in a metropolis , it is not crow but crowd below who are lonely despite over crowding of an urban space.
Saturday, October 3, 2009
Ashwathama Satish
Satish Deshpande was my dear friend .
An artist who spoke very little but expressed his heart
out on canvas . He used to talk at length about his work
with people he was comfortable.
he was not shy but was averse to loose talk.
we used to talk about his ideas and work . he was lucky to
have Yashwant Chaudhary and Prafulla Dahanukar to guide
him in his long journey as an artist.
More than his work he always remained concerned about
inequality in society and used to discuss issues concerning
people living below poverty line and talk about their sense of
aesthetics developed from struggle for survival.
I vividly remember his talk about existence of Ashwathama,
a legendary myth , living immortal . he believed that
Ashwathama was staying on the top of tall trees in the form of
dark red flowers . these flowers are not visible from below. One has to rise
above ground level to view Ashwathama.
He wanted to depict Ashwathama in his paintings . I do not know
whether he tried or not. but idea was fascinating.
He has gone in search of Ashwathama flowers , little early in life
leaving his friends and well wishers behind.
It is pure pain. He left before realising his true excellence as an artist .
An artist who spoke very little but expressed his heart
out on canvas . He used to talk at length about his work
with people he was comfortable.
he was not shy but was averse to loose talk.
we used to talk about his ideas and work . he was lucky to
have Yashwant Chaudhary and Prafulla Dahanukar to guide
him in his long journey as an artist.
More than his work he always remained concerned about
inequality in society and used to discuss issues concerning
people living below poverty line and talk about their sense of
aesthetics developed from struggle for survival.
I vividly remember his talk about existence of Ashwathama,
a legendary myth , living immortal . he believed that
Ashwathama was staying on the top of tall trees in the form of
dark red flowers . these flowers are not visible from below. One has to rise
above ground level to view Ashwathama.
He wanted to depict Ashwathama in his paintings . I do not know
whether he tried or not. but idea was fascinating.
He has gone in search of Ashwathama flowers , little early in life
leaving his friends and well wishers behind.
It is pure pain. He left before realising his true excellence as an artist .
Thursday, July 9, 2009
Tribute to Tyeb Mehta
Tribute to Tyeb Mehta—Master of masters’
Tyeb Mehta has a special place in the realm of Indian art –some one who worked in isolation, dedication without giving any heed to suggestions or criticism in media and close circles and evolved his own world of enigmatic images. A language which was rooted in ancient Indian culture and at the same modern enough for the Western world to grasp his most talented work. He emerged as a Master of masters’ who showed a way for hundreds of artists not only to follow his footsteps but showed a way to interpret rich heritage in most modern way.
He was one of the silent members of the Bombay Progressive Artists Group which wanted to experiment and break away from mere exotic and studio kind of work and relate and express to the environment surrounding them. He was preoccupied with formalist manner of expressions. His anguish as a troubled soul was very vividly depicted in his work. His stay in Europe, a self imposed isolation, helped him formalize his symbolic manner without any hindrance. He was influenced by European masters but his thinking and creative process remained grooved in psyche of Indian subcontinent. He will be remembered for his early images of trussed bulls, to the rickshaw puller, his depictions of Kali and other mythological symbols and his series of diagonal traces as these images are imprinted on vast canvas of visual memory of Indian art. Perturbed by individual and group violence, he treated it at a different level and spread the essence of peace through is numerous works.
Despite being a man of few words and an introvert, he turned out to be one of the top five Indian artists fetching fascinating value for his work. He was one of the most expensive Indian artists who helped to generate boom for Indian art. He refused to compromise, declined to take note of what was acceptable and continued his search unmindful of market valuation. No wonder he will remain most enigmatic Indian master for many more generations of artists. .
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Ends
Tyeb Mehta has a special place in the realm of Indian art –some one who worked in isolation, dedication without giving any heed to suggestions or criticism in media and close circles and evolved his own world of enigmatic images. A language which was rooted in ancient Indian culture and at the same modern enough for the Western world to grasp his most talented work. He emerged as a Master of masters’ who showed a way for hundreds of artists not only to follow his footsteps but showed a way to interpret rich heritage in most modern way.
He was one of the silent members of the Bombay Progressive Artists Group which wanted to experiment and break away from mere exotic and studio kind of work and relate and express to the environment surrounding them. He was preoccupied with formalist manner of expressions. His anguish as a troubled soul was very vividly depicted in his work. His stay in Europe, a self imposed isolation, helped him formalize his symbolic manner without any hindrance. He was influenced by European masters but his thinking and creative process remained grooved in psyche of Indian subcontinent. He will be remembered for his early images of trussed bulls, to the rickshaw puller, his depictions of Kali and other mythological symbols and his series of diagonal traces as these images are imprinted on vast canvas of visual memory of Indian art. Perturbed by individual and group violence, he treated it at a different level and spread the essence of peace through is numerous works.
Despite being a man of few words and an introvert, he turned out to be one of the top five Indian artists fetching fascinating value for his work. He was one of the most expensive Indian artists who helped to generate boom for Indian art. He refused to compromise, declined to take note of what was acceptable and continued his search unmindful of market valuation. No wonder he will remain most enigmatic Indian master for many more generations of artists. .
==
Ends
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