Spiritualism and the
knowledge of Sanskrit
Literature are two
of my most
prized possessions which I have inherited
from my family.The
days of my
early youth were
spent in the
verdurous surroundings of
Malva region,where searching
for sweet and
sour leaves chasing
after leaping frogs used
to be my prime occupasion. Soon the openness
of the natural
sorroundings gave way
for much more
confined atmosphere of Bhartiya Kala
Bhavan Ujjain,which was
run by the
world fammous excavater shi
Vishnu shridhar Wakankar and I was lucky
enough that it
was the same
time when the
world heritage Bhembetka was
being explored by him and
it’s
cave paintings was the
main issue of
discussions at Kala Bhavan. Here I
discovered the immense
possibilities in the
field of art
and came face
to face with
my true identity.I
found myself coping
sketches of Ajanta
art.Later the rigid
discipline of the
linear beauty of
the miniature painting,
their bright colours and
their aesthetic sensuality
appealed to me
vary much.In particular I
felt much drawn
towards Jain miniature
paintings and in
a way,I was much
influenced by them.
Initially I did enjoy
a brief stint in
miniature art with
water colours .
After coming toBhopal
I was deeply enthralled
by the silent
and deep water
of its lakes
palaces, which, today, stand
as a testimony
to ruin and
abandonment.These observations aroused
my faculties and
prompted my mind
and soul to
oscillate between the
present and past.Thus
the idea of
life and its
gradual erosion the
ephemeral and the
eternal silently crept
into my work.
As soon
as the angle
of a gaze shifts and
the course of
thought alters, defferent
aspectse of
an object or
an ideology come
in full view
.The events which
shatter the life, if
seen objectivly, much of
the pain and
agony of such
unpleasent events would
be mitigated, consequentlly
ego centric narrow
ideology is blown
apart, paving way for
more human and more
honest outlook.
In my childhood,I had heard myhtical Yaksha of the poet Kalidasa in the epic ‘Meghadootam’ gives instructution to ‘Megha’ the cloud, regarding how to reach ‘ Ujjaini’. He instructucts that ‘ Although the path is labyrinthine yet O Megha don’t deprive yourself the pleasure of watching the upper portion of the palaces of Ujjain’.It is to project the same angle of observation that I have conceived my work according to the perspective of a BIRD-eye-view.
In my prints the eroded and damaged
globular structures, a forlorn wooden frame, remanant of a double storey
building door, the dust and mortar fallen on the ground, a skelton of the wall
which is being embraced from all sides by the creepers, grass and hay and
thatch, brumble or the thorny bushes, stones, waters of the floded rivers and
the mountains can not be observed as “MADE” rather the y are integrated in such
a manner as to draw pleasure. To see things in small forms gives me immense
pleasure. The sun rays fall at one corner of the earth and make it shine with
light but at the same time in another part the sun rays made a landscape to loo
is blurred. This interplay of light and shade is also conspiciously
discernible. Despite various tones and colours and despite the availability of
the system there is a perfect harmony in nature which is apalling to me. I have
tried to toe in the harmony in the place of heart and rigid forms of
architecture, i have traced grandular beauty, rhythm, tenderness, delicacy etc.
to be the part of art object. While working at BHARAT BHAVAN I have studied the
details of graphic media. Also there I have done experiments and developed new
way to project GRAPHIC WORK. There is a sensitivity of profound kneenness when
I work on etchings.So my work is amalagm of modern and traditional art forms.
