I am a professional photographer trained at JJ School of Arts. My
painting "Life is a Chess Board" was my first attempt to express myself
on canvas which I attempted after 30 years as a commercial photographer,
that too at the age of 50. As on a chess board, it's very important to
make that first move. You may think in black and white but life becomes
as colourful as a butterfly.
In my painting I have depicted an old Indian priest with his monkey
friend to show the culture of our country. The friendship between the
two is evident in the expressions of the holy man and the monkey. The
ornaments they are wearing, the beads and the chain the monkey is tied
with are all elements we see in real life. This is a holy man who is
living alone far away from his family in the asylum of God. This
painting depicts a part of our heritage, one we often see at pilgrimage
places in India.
My paintings are located in the realm of eternal love, providing an
image of love in the depiction of Radha and Krishna. I have represented
them in the elongated figures, using thick opaque paints and the rich
drapery, in contrast, with transparency. The depth is created with the
help of solid tints which emerge from dark contours and the subdued
folds and undercuts. The visualization of the protagonists with stylised
noses, thick lips and broad fish-like meditative eyes, tilted heads is
reminiscent of idealized Indian sculptures that have motivated me with
their lyrical quality. They are abundantly ornamented with fluid lines
and tones through these qualities. I have made an effort to show the
divine magnificence and the eternal love to appeal to both common people
as well as art connoisseurs.
My Art....My Life. Life for me began when I was six when I picked
up a piece of charcoal for the first time. It gave my inner most
feelings a means of expression. For me, inspiration came from life and
nature. It was a form of romance but also a means to healing and
recovery. Since then I have continued developing my art....my life. I
have captured many different ideas and subjects, Mother Teresa, Women,
Rickshaw pullers, Butterfly people, The Last Communist, Bull and Horse.
I have been living and working in Mumbai for the last 27 years. The
beauty of the monsoons was the inspiration for the current series,
Monsoon in Mumbai.
Painting is an integral part of my life. I have loved painting since
childhood. My birthplace is Latur, Maharashtra. I completed my primary
education in painting at Latur, followed by Abhinav Kala Mahavidyalaya,
Pune and Sir JJ School of Art, Mumbai. In my paintings, the subject
matter is mainly related to what I have seen growing up in rural areas.
I have presented my work in many exhibitions and I constantly try to
introduce something new every time.
My journey as an artist has been dynamic yet embedded in the realities
of circumstances. My works showcase subjects from the hustle and bustle
of city life to the beauty of whispering serenity, human activities and
different festive celebrations. I have always had a soft spot for the
earthy colours of my homeland. Starting from my Kolkata college hostel
to life in Mumbai, popular destinations and gothic architecture. The
Varanasi ghats pulse with the harmonious rhythm of life as the divine
Ganga lined by the ghats flows alongside. My work is inspired by diverse
cultures, the influence of the ambience, observation across boundaries,
over time crossing miles and beyond.
I was born in in a village in Uttar Pradesh, where the rangolis at the
village festival and the local potters' fine works of art inspired me
greatly towards art as a hobby and potential career from early
childhood. I then moved to Kolkata, once the capital of India and its
rich cultural heritage and character immediately caught my attention. I
started painting for the first time in the city. The central theme to my
paintings is related to present day society, my works appear
photographic or naturalistic. The religious ghats of Varanasi, Haridwar
and other ancient places attracted me for their cultural heritage. I
portray the beauty of the doors, temples, sculptures, the narrow streets
and 'galis' which cannot be described in words. I always prefer a highly
realistic approach in my paintings but try to reach a horizon that
photography cannot reach and make a statement that is called
I think that "the Self" doesn't have an autonomous existence. It is
always over shadowed by the other. That is, we see the reflection of our
self in others. Paintings of the great masters from different historical
periods and geographical locations are a major source of inspiration and
motivation for me. My work is autobiographical and involves
self-portraiture. I borrow an image and repurpose it in a new ideology.
I use my body as a metaphor to travel from one time to another, to
examine a relation and conflict simultaneously. "I paint self-portraits
because I am the person I know best".
I am an aware, concerned and involved human being of society. My subject
matter comes from day to day life. I observe young girls achieving woman
hood and their goals and ambitions in the existing global environment.
In earlier time painters used to make portraits of royal families and
goddesses. These were accepted and admired by the kings and rich
society. With time and the evolution of different painting philosophy,
different styles became fashionable. I have started to explore and
evolve women's faces, emerging after imbibing contemporary society's
norms of living and fashion directions. The human faces in my paintings
reflects the environment in which the society surrounding me is moving.
I depict the faces with added painting requirements and professionalism.
My paintings travel through the onlooker's memories and tickle them of
the places visited sometime in the past. My work represents the places I
have visited, and the ones that have given me a sense of belongingness.
This range of my paintings is a unique combination of my inspiration
from such places with my dose of imagination in search of Peace,
Calmness, Serenity and Happiness.
I grew up in the holy city of Benaras - amidst festivals, colours,
temples, spirituals, and deities. Sitting on the ghats of the Ganga, you
watch the great river on one side and as you turn around, the oldest
living city, which is always celebrating. There is something in those
ghats and narrow streets from where I seek the inspiration for my work -
tangled wires, holy flags atop buildings, jasmine gajras or the monkeys
that watch over the city. There is magic in this place and it fills my
heart with ideas and creativity.
A metal art designer, I am a firm believer that restricted boundaries of
a material subject do not exist for creative souls. My work resonates
with Indian mythology and culture and I bring them to life by
geometrical lines and splashes of colours.
I recreate themes of cityscapes and everyday life. Using a black and
white base with a simple pop of colour, I try to show the beauty of the
city on my canvas. My paintings invoke a strong feeling of nostalgia and
belonging, they are bound to draw the viewer deep into the canvas. I use
acrylic paint to give the effect of watercolour.
Park: Growing up amongst the hustle of the city has developed
within me a keener outlook towards the tranquillity of nature. My work
brings out the peaceful side of Kolkata, engulfed in the soft whispers
of the trees and the calm winding roads, represented on a medium of
water colour on paper.
Monsoon: This is a peek into the Bengali household in a portrayal
that plays with mundaneness and warmth with equal balance. The
characters come alive against the greyed monsoon backdrop, shown as
engaged in a stream of daily activities. The work captures a bird's eye
view with a multi-directional aspect to it.
I have discovered that the form of my art is the best way to express
characteristics and techniques and give them classic dimensions. My
paintings are mostly figurative and rendered in mixed media treatment
with charcoal and acrylic. The figures are mostly centre composed around
characters that are metamorphosed versions of natural surroundings,
showing the journey through the complexities of everyday life.
I paint to spread my feelings and happiness to everyone. The sanctity of
Benares Ghats greatly affects my mind. Their enormity captures my
feelings again and again. There I can see a hint of peace. There is a
glimpse of heaven, which I express through my paintings.
Since childhood I have been closely associated with nature and religion.
Nandi represents a joyous or happy person. Bull is the symbol of wealth,
strength and happiness. My aim is to keep the Indian tradition and
culture alive and narrate a scenic beauty with the devotee when hung on
For the last 25 years I have been a practising artist. In the early
stages of my life, I tried out for several jobs and related services,
but nobody could quite utilise my capabilities and my potential.
However, I believed in myself, I kept on striving hard for excellence.
Whatever I believed in is laid out on the canvas. This is my life's
work, this my art. This is what I believe in, what has kept me alive
I have been a freelancer in Mumbai for the last 15 years. I did my art
education from Pune in 2006. My subject is human love and my work style
is modern figurative. My work is inspired by mosaics. I use bright
colours because they are suitable for my emotional subjects.
'Devi' has innumerable interpretations in beliefs and mythology. Devi is
a divine power yet she has a human side to her. Evolving culture has led
to the portrayal of feminine energy in shades and hues of changing
times. Devis are virtuous women; they are revered, feared and
worshipped. The Devi series of paintings is a montage of eternal
characteristics prevailing in myriad forms of divine energy. The
metaphor for the theme is an ordinary rural woman who has motivated the
development of this collection. The Devi is a celebration of the
collective identity of a woman intrinsically linked to a larger cosmic
female entity - be it the Laxmi, Saraswati, Durga or Kali, each facets
of the same radiant and divine female energy. Her desire to be free,
fly, and live life is an equally strong emotion. Tangled in a web of
various emotions, delicate and loving, are birds of her own desire which
have nested in the web. This painting is a depiction of the beautiful
web and wings of desire. I have used a rustic chain ornamentation that
rural women wear, the birds are desires waiting patiently to fly.
Thinking gives me a way to pictorial language. Words have no purpose.
Their limitation is intrinsic. The subject of my painting is
'Landscape'. The essence of my paintings emanates from nature. I allow
them to come into my dreams in colourful and colourless forms. I bring
together nature and form, sometimes in bright hues, and sometimes in
light shades to evolve my own distinct style, with consummate use of
light and shade. They represent layers of meaning and mystery. My
composition tries to communicate with the viewers and make them reflect.
My paintings are happy colourful faces of artists who love to spread
happiness with their creativity and dedication. Sunflowers which
symbolize love, positivity and happiness are inspired by Van Gogh's
paintings and express my gratitude and love for life.
To analyse what I paint and why I paint is difficult. It's about the
moment, the feeling, the awe, the inspiration, the admiration, the
beauty and innocence. It's about capturing your imagination on canvas
and freezing it in the frame of time. My work is a combination of
realism and abstract art which allows me to experiment and ideate more.
Whether it's Horses, my Child series, Jesus or Buddha, I have tried to
convey what I feel through my art. Horses have always been my passion
and inspiration. Their majestic appearance, their beautiful mane flying
with the wind as they gallop and race to the finish line. The beauty of
a horse is its majestic personality and the power it exudes so
gracefully. The Palomino horse in my painting is known for its yellow
golden and white mane and derives its name from the Spanish Royal
family. My latest series, "Nature" is about beauty and colour which
brightens our daily lives. It is God's canvas which brings the freshness
of Life, it's fragrance and colours that light up our world. A bouquet
of Red roses will always bring a smile and happiness. It denotes love
and passion. So just "Say it with Flowers".
The word clown denotes a person who lacks his own personality. For me
this isn't the case. A clown is a human being and has all the
characteristics, a mind, body and soul capable of displaying love and
affection towards others. If we watch ourselves and others around us
very closely, we would realise that we are all quite similar to a clown,
playing our respective roles in society. My painting represents such a
perspective towards the life of a clown.
The subject matter of the works is inspired by traditional leather
puppetry. The works are a visual interpretation of stories picked up
from the epics, Mahabharata and Ramayana. The popular characters from
the epics come to life in a new light in my works. I create a stage for
my 'Nayak' and 'Nayika' so that they can exemplify their strengths and
spirits at the very best. The linear rhythm of the "thollu bommalata"
gets recreated in my paintings. I carve out the silhouettes of the
figures and then turn inside the form to define the details in a
specifically aesthetic and creative manner. The features of the
characters are sharp, defined and finely chiselled. The huge, soulful,
almond shaped eyes are the most prominent feature of the portraits. The
line boldly yet lyrically runs over the coloured areas and connects the
different planes, weaving them together with intricate patterns, floral
clusters, motifs and suggestive jewellery.
India has vast varieties of cultures that have evolved with time,
culminating in the present urbanisation. Every city has its own
speciality and a vibe which can be felt when we live in it or visit it.
Indian streets have inspired me as an architect and helped me perceive
various cultures and made me observe how people make use of every inch
of space according to their need and create their own habitat to live
within. It is said "we live in some cities but some cities live in us."
Mumbai is one such city, flavoured with different habitats and cultures
along with its unique architectural elements. These works have been
rendered and detailed with different views from the bazaar streets of
For me painting is like meditation. It is spiritual. It brings colour
and happiness to my life. I share this positive energy with the viewer
through my work.
I was born into a family of artists in the small temple town of
Nathdwara, a place rich in art and culture, where painting is the main
source of living. Art is in my genes. Shri Nath Ji is the principal
deity in Pushti Marg. Since the last decade I have focused on the Shri
Nath Ji image and have tried to create a very contemporary imagery
containing the shringar and calligraphy of bhajans. It is bold and
The Feline form "The tiger" is a round, curvy delicate yet assertive
form, a form that has the strength and beauty of the wild cat. The lines
are curvy to imply motion for the viewer to feel and to imagine. The
long lines and train of designs are a part of the element and
strengthens my composition. These forms are metaphorical and strong. Two
heads in one body with numerous feet and fore limbs denote a form from
mythological stories. My palette is subdued and soft, delicate shades
with their tints, silver and sometimes gold, the beasts are a narration
of my story. The background is usually plain so that the dominant
character of the tiger prevails. The expressions catch the viewers eye,
not only in a still pose but also in an expression of intimacy with its
partner and gazing at oblivion.
A few lines about my brother Datta Bansode . I was not fortunate enough
to be a part of his journey to become a great artist but I feel that I
was fortunate to have such a great and kind hearted brother. In my
opinion he was an even greater human being than a great artist, so
humble and inspiring for young and junior artists. I will share here his
explanation regarding why he painted Buddha. After Pokhran-II, the
government titled that nuclear blast "Buddha smiles again." He said that
it was a mass destruction weapon and Buddha's teachings were about peace
and humanity. How can Buddha smile on such a destructive weapons blast?
After that he started painting the Buddha series. He not only followed
Buddhism, but he lived his life as Buddha. Struggling with all his
physical and mental problems, he never spoke of them. He always remained
cool, contained and an inspiration for all his friends and the young
artists he mentored. I'm proud to be a brother of such great human
being. I miss you brother.
Ravi Bansode, in memory of his brother, Datta Bansode
"Girl with birds". Happiness is not just a smile on the face but courage
and freedom to walk through life on our own. A girl is a gift to parents
from God, a natural form of happiness. Vibrant reds and yellows snatch
attention towards the act of a bird helping the girl to understand the
deep happiness in her as the bird knows that true happiness is to fly on
our own than to be in a cage.
I have worked as a freelance artist for the last twenty years. During
this period, I have worked on many different subjects and techniques. I
have worked on the "Horse" series from the last seven years. Everyone
knows about the power, beauty, strength and many other qualities of the
Horse. All these are very challenging to portray in paintings. I have
tried to keep the realistic anatomy/ proportion of horses without trying
to stylize it. Sometimes I have simplified the form. My paintings are
trying to capture the movement of the horse through bold strokes and
vibrant colours showing its strength, power, beauty and force, the
different semi circles in my paintings unleashes the power of horses to
run towards the goal.
Bulls epitomize masculinity in the animal kingdom, symbolizing strength
and power in both their physical and spiritual presence. Here I have
tried to depict the characteristics in an artistic manner. The delicate
lines and the detailing and various forms in the background add to the
figure with powerful and vibrant colours like red, blue, yellow to make
it more indianised and attractive. Goddess Durga symbolizes the divine
forces known as divine shakti that is used against the negative forces
of evil and wickedness. She protects her devotees from evil and
safeguards them. Here I have simplified the form in my style of work and
gaven a monochrome colour treatment which, to me, is more divine and
depicts an aura of positive energy. The delicate detailing over the
whole canvas becomes evident as you come closer to the canvas. My
painting of the flower has a positive meaning. It represents the
beginning of new things and major change. It inspires confidence by
signalling the birth of a new era and brings hope and courage. Once
again there is a lot of detailing and the use of strong colours.
Painting is my profession, it is my passion, it's everything, it's my
life. I have many things to say which I express through different
mediums of visual arts.
The owl- On a moonlit night with rays of hope, there is someone there to
look after you even in the dark.
Galloping- Horses represent dynamism which is life. Stagnancy is death.
I believe in dynamism. I worship life.
I am Dilip Naik Artist from Karnataka, India. I have visited so many
places in India. They have attracted me. I have got so many ideas from
these places. I paint to show the world about our Indian cities.
I have established myself as an artist who dares to walk on the path
less trodden. My journey began with the ASHWA CHITRAMALA (the horse
series) a few years back, which met with success and admiration. I have
now resurrected my swift horses Flaming and Novelty and achieved a new
form of muscularity, the Bull. There was sheer anguish and fierce
passion in my earlier horse paintings which exploded through the colours
and fearless strokes on the canvas. This anguish had given way to love
now and the passion has transformed into lust. I have painted these
horse couples with the heart of an evergreen romantic. The colors are
bright and gleaming with self-assurance, the brush strokes are gentle
yet confident. I have also introduced the Bull, the symbol of
muscularity and virility in my portfolio this time. These bulls are
mighty, confident and charging towards their dreams and desires.
'I am very fascinated by the chaotic streetscapes of Hyderabad, the hand
rickshaw pullers sharing space with jostling auto rickshaws, people
sandwiched between old crumbling buildings and domes of ageing edifices,
crackling under the sound and pressure of increasing traffic. Also, it
is the unique set of its inhabitants who motivate me to make them come
alive on canvas: fakirs, sweepers, young and old pedestrians, sharing
space with animals, carts on the road. I have been walking these
streets, observing people and creating many stories. I had several
meetings with them as well. I have tried to capture their mood. We all
get busy with our individual lives and miss out on what is around us,
the architectural details, the socio-economic scenario. That is my view
of what art is, it is neither a profession nor a hobby; it's a way of
life. The new, fast-growing culture of malls also inspires me. When I
see their tall wide window displays, the contrast of the opulence
juxtaposed with the reflection of the street life outside, that is a
canvas worth bringing to life in paint.'
I am influenced by Hindu Mythology. Since I belong to an orthodox
family, I start my day with pooja-paath and believe in work and worship
with my paintings. Hindu Mythology has a rich history, enigmatic
characters, resounding stories, and a surprisingly innate association
with modern science. I paint on Hinduism's mythological stories to
express my inner feelings through colours and drawings with my kind of
signature style, mythic scripts, veda mantras, layers of colour
applications and with fine line drawings. My paintings speak for present
and future generations.
From the very beginning of my career as an artist, I have had a great
passion towards figurative art and heritage of India, employing
metaphors and abstractions. This helped me realize my spiritual
qualities. Now, over the past few years or so, my work has naturally and
gradually drifted towards abstraction and a distinctive method of
compressing the rich colour and form of my environment into complex
landscape paintings that imbue material reality with a deep sense of
peace. I combine colour making techniques with the vernacular, in a bid
to arrive at an idiom that is entirely contemporary.
I paint with the sole intention of spreading joy. I make sure that I
deliver a sense of pride to whoever owns the painting. My work gives me
a purpose to live. I like to paint women, kids, spiritual subjects and
anything that impresses me. I did this work during Corona. With Corona
like viruses the future of the new generation may be bleak. I can't
imagine how the young ones will survive with masks, social distancing
and fear of getting affected. "God, do I have any future?" the child is
I am Girish Adannavar, an artist from Karnataka. I have experienced so
many traditional places in South India which have impressed me. I paint
male and female figurative works to show South Indian traditions,
culture and beauty to the world.
THE GOLDEN TRIBE: The family is one of Nature's Masterpieces.
Here I have depicted a scene of the Golden tribe, a family celebrating
the New age era of Togetherness in the midst of the hustle and bustle of
city life. THE NEIGHBOURS: In the Garden of Humanity every new
Born is a Learner. A scene from the past is depicted where the infant is
full of curiousity. Every aspect in the painting reveals a desire for
exposure to new meetings and experiences in the life of the infant.
I thank God for his gift to me, of being an artist, which I recognised
very early in life. It started in school with helping out my classmates
with projects, which evolved into freelance work at advertising
agencies, orders for office, restaurants and homes kept pouring in. But
my actual journey as a professional artist started 28 years ago. I
realised my forte was painting portraits and I did lots of commissioned
work of known names. I love painting human faces especially women and
the subject of tribal women with their exotic jewellery and attire
enthrals me to no end.
The beast within! That is the thought that comes to mind when one is
confronted with my bulls. My canvases evoke an empathy in the viewer.
The bulls represent the power, pride and heart of the beast that is
inside us all. The horse generally represents patience, speed, power and
courage. But my horses also show love and affection and playfulness.
As an artist and a homemaker I engage constantly with the eternal
questions about identity, gender roles, patriarchy and conditioning
within my artistic practice. My work is an attempt to address the set
notions about domestic life and also to celebrate the multiple roles
My art is the expression of the joy of creation. I know no other. If
it reaches the heart and Joy of other people it has served its purpose.
Geometry, by definition, is a branch of mathematics concerned with
questions of shape, size, relative position of figures, and the
properties of space. But if we look at it with an aesthetic outlook, we
realise the depth & beauty it holds. It is human faces beauty. When we
observe geometry in something, be it symmetric or asymmetric, we lose
ourselves into its splendour. This is what I have expressed through the
medium of my art. The importance, grandeur & charm of geometry and solid
vibrant colours has the ability to transform minds.
As an artist, it is my profession to paint. I do my work with all my
heart and feelings for my painting. I always paint my subject in a way
that my painting becomes a new reality and also creates a new illusion.
I have worked with the human figure for a long time. Recently, I was
looking at photographs of migrants and riots. What moved me was the
environments that these situations generated. But I was not interested
in replicating them. I want to extract the essence of these
images/situations and reduce them to almost abstract forms, using
colours so that the statement becomes accessible to the viewer and the
reality of the image gets altered, as happens with memory over time. We
humans are inclined to remember the colourful and cheerful more than the
My paintings usually reflect a very surreal environment with two or
three women who are quietly sitting next to each other with mild
conversations over a cup of tea. This is a very typical personal space
which many like to envelop themselves in. The flowers from behind,
symbolises a furthermore surrealism. The fine blossoms in the frame
shows calmness in the overall environment with accents in the red
flowers. The cat is a new addition. The biscuits that have been kept
with the tea is a snack to the cat and he is quietly trying to pounce on
the same. This is a sign of playfulness. The reason to introduce the cat
is to balance the emotion of calmness of the women with playfulness
creating an overall joyful scenario.
Earlier I have painted the Sahyadris in all their glory. I then embarked
on my fascination with the panchatattvas (the five elements of nature)
the earth, water, fire, air and space; exploring them through my work.
The panchatattvas continue to mystify me with their profundity, infinite
possibilities; constant renewal and acquiring of new knowledge. I paint
every work as the subject speaks to me, sometimes abstract, other times
naturalistic. I believe that it is significant to feel the expression
and how it is represented with lines, colours and shapes. What is
important is that it portrays an untainted work of art and that is what
I have attempted here, to create a work of art as truthful to my
expression as possible.
As an artist, my best work comes from the deepest place inside of me and
fulfils the need to create. Painting thus becomes an inward journey for
outward expressions. I have always considered painting as a language,
not of words but of perception, feelings and beliefs. My paintings are
impressions of the internal aspects of my life. In essence, I am finding
Though much of my work over the past decade makes reference to and is
inspired by the dream state, "pomegranates" have been popping up in my
work throughout my artistic career. Though the fruit can have darker
connotations, to me, especially in the case of these two works, "Garden
of Plenty -I" & "Garden of Plenty - II", they allude to abundance. In
Greece, a pomegranate is often the first gift to be given to a person
with a new home. This is because in many different cultures from ancient
times till the present, it is symbolic of abundance, fertility and good
fortune. In these times of uncertainty it is perhaps correct to be more
mindful of how we take the abundance of nature for granted, abusing it
at will and without a thought or concern for the future of humanity,
till nature itself is forced to turn upon us.
My journey on this beautiful yet difficult road started as an
engineering graduate but I was wise enough to know that this is not what
I want because it did not ignite my soul. That's when I decided to hold
a brush and started a rush for my passion which was painting. For this
process I chose water colour as the medium. I fell in love with water
colour as it gave me the freedom of experimenting. The mistakes I make
were just a collection of beautiful accidents. In my Vintage Saga
series, I tried to put life into a long-lost culture so that its designs
forms and shapes are displayed on my canvas. In the Acrylic vintage car
series cars shapes are seen as beautiful forms.
I belong to a family of Patta painters from Odisha who paint
mythological stories on palm leaves in aesthetic patterns, laborious but
exquisitely sophisticated. These Patta paintings and the local rituals
include the tiger dance are my inspiration. The tiger dance is a special
ceremony in which the males are adorned with tiger symbols. They are
required to pray and perform ritualistic dances to the Goddess Durga for
two days. They are required to pray deeply in the temple and on their
return, they are considered to be energetically cleansed and with
spiritual energy which is then conveyed to the females in their family
group. In my work I try to build a bridge between historical documentary
depictions of the established rituals and modern contemporary
expression. My primary purpose is to give exposure to the medium,
techniques and cultural heritage of Orissa.
My series of paintings titled "OPUS" are an abstract representation of
cityscapes. No matter where you go in the world, HOME remains a rich
embodiment of memories and aspirations. These are depicted through a
vista of structures and colours on canvas, each standing on their own
yet connected to the larger community. This abstract series in oil
paints aims to be a personal process, inviting the viewers to experience
and interpret them, relative to their own journey.
The breath taking Havelis of Rajasthan portray rich culture and
tradition which fill us in awe. This very majestic hugeness caught my
eye which I have presented in the painting. Ajanta and the Monk: This
painting captures the beauty of the Ajanta caves and its history as a
centre of Buddhist learning.
For me, painting is a journey that brings me each time to affirm eager
reverence towards life as a singular vision, despite its dual nature.
The main stream of thought behind my work is about embracing life and
seeking the lyrical, in any given situation.
About "Her ornaments": In my painting I have tried to convey the
relationship between man and woman by showing a woman wearing "Him", her
soulmate as "Her ornament" in and out to her body and soul.
The bench: This painting depicts my childhood memories. The themes of
peace, togetherness, co-existence, love, humanity silently underscore
the expressions of innocence. The swing: This painting depicts
the time we used to play without care. The fun we had in school, the
games we played, those silly sibling fights, the lullaby our mother used
to sing, the tales told by our grannies - reminiscing about childhood
days brings a smile on our faces. Mother and sons: This painting
depicts the single mom who raises her kids alone. Being a mother is
difficult and being a single mother is even more so. Mother & child:
The lullaby our mother used to sing made us sleep soundly. As we
grew up the burdens of life hardly let us sleep. This painting radiates
a sense of freedom as well as sadness for a lost era, a part of the self
that we can't have now.
Buddha is the main subject in my work of art. My works are inspired by
Indian sculptures, the Ajanta fresco paintings as well as the Khajuraho
sculptures. These reflect in my own style of paintings. Swayavedan
depicts the silent pain that Buddha went through to attain
consciousness. I appreciate the Buddha's philosophy, so I take the
Buddha subject and try to present it in my style of thinking.
Woman, Blue Clown and Girl: This is a painting I had painted in water
colours in 2009. This painting shows the woman and the girl are
performers in a circus and the clown is a part of the circus too. This
has been a theme I have been working on for some time.
Woman and Man: This is also a painting of 2009 and is a representation
of the relationship between man and woman.
I found my true self and fulfilment while creating abstract
compositions. Discovering abstraction is much deeper than a play of
colour or lines, I returned to my first love of landscapes and created a
body of abstract landscapes and seascapes. Abstracts are about the
person you are. They help you understand and work out the complexity of
your own emotions. As I explored the expression I came to love the
process of painting abstracts and then there was no looking back.
Colour, texture, form and the most versatile medium of oil become my
tools towards creating a unique language of my own. Art is about what
you are and I feel that the canvas should be the mirror of an artist.
My paintings reflect a mood of uninterrupted reverie avoiding monotony,
with gentle changes from soft washes to firm brush strokes, from
diaphanous forms to sharply focused details. I try to evoke by painting
in a slow savoured process of rendering of a plant, a wild landscape or
just some flora, my expression of the inner life of things which could
in turn assist the viewer's quest for enlightenment. The viewer will
find that, as in life, the transitions are so subtle that they are
hardly noticed until they are gone.
The Chakra Tryptich: Even as the Universe reverberates to the resonance
of the universal sounds of Aum, the individual energy centres of Nature
and our bodies correspond and pulsate to the prime chakras and their
seven colours, seen in the rainbow, as clearly as we see the entirety of
nature's palette. Each Chakra has it's colour and Beej Mantra and it's
position in the body. The Muladhara, Swadhisthana, Manipura, Anahata,
Vishuddha, Ajnya and the Sahasrara. And in turn they all reverberate to
Aum! The Chakras grant us balance, harmony, peace, joy and quietness
unparalleled. The Rainbow Chakras: The rainbow is an iridescent,
glorious , brilliant phenomenon of nature. It is pure uplifting light
that spreads across the skies. It contains seven colours which
correspond with the seven prime chakras in our body also. Energy is
derived from these energy centres and dispersed within us. The Lotus
Chakras: The lotus is a glorious flower, that symbolises the victory
of infinite purity and beauty. An exceptional joy, that rises from muddy
waters and yet, remains untouched by the dirt. It glows and shimmers and
gifts its ethereal beauty to the observer. The Bindu Chakra: The
Bindu is the ever expanding, ever contracting, infinite consciousness of
the universe. It can be a dot, a tiny atom that can ripple out and
encompass entire universes, stars and suns. All shaped as the infinite
circular heavenly bodies. And we humans are each a minuscule part of
this throbbing, pulsating, incredible awareness that resonates and
resounds with the universal sound of Aum.
My work reflects the spiritual bent of my mind. I have done many works
on Sadhus depicting their hard life through the lines on their faces and
unkempt beards. I recently turned to the Banaras series of which these
works are a part. The domes, the umbrellas, the steps seem to have
remained unchanged through centuries. The stillness evokes the spiritual
nature of the city.
My paintings are usually triggered by an image. I try to turn this
'found image' into a visual metaphor to evoke, suggest, and charge it
with new meaning. It could even be a news item, as in this case. From
Indian Express: "The upper Vaitarna Dam near Nashik supplies water to
the residents of Mumbai who stay 120 km away from the dam site. But less
than 2 km away from the dam, women in the tribal settlement of
Barde-Chi-Wadi, have to rappel down a 60-foot-deep well using flimsy
ropes, to ensure that their families get water to drink." This news item
led to a series of works about the contrast between the city's water
tanks atop buildings, and the hollow depth of empty wells in villages.
And about the water wars in other situations too.
There is no story in my work. I just try to show the beauty along with
my best skills. My child hood spent in my village are the reasons I
paint Gangireddu, the sacred bull. I lived in a village for twenty five
years and am strongly connected to it and my roots there. I have chosen
to paint Gangireddu because I found it had beautiful traditional
elements in it. I feel it's a beautiful composition of art.
Village and Culture: As a painter I see an artwork in the design of
houses. I find beauty in the design of a house, the combination of
several houses and the design of an entire village. A painter needs the
medium of lines, shapes, colours to express himself. I have transformed
the design of these houses into an artistic shape in my imagination. And
that particular shape is my artform. My art developed in rural areas and
it is aimed at keeping alive the rural aspect. I have expressed the life
of the village, and how they have faced the problems. There is not
enough water to survive so unfortunately villagers have shifted to urban
areas for their needs. In future, there may be only houses and no human
beings there. I feel sad for them and I have expressed it in my
I am presently working on "Life Series". This portrays various aspects
of human life - its living, thinking, surviving, making progress,
planning for goals in life. It reminds us to focus on each precious
moment of the journey of our life. I try to project Indian culture, art
and women's empowerment through my paintings. For me life is a journey.
Live your journey. Celebrate it. Our true journey begins when we have a
purpose. This is what I have shown in these paintings, painted with mix
media on canvas. Every painting has its own life, its own world like an
individual. Each painting has a very personal, spiritual experience for
the viewer, which I hope will lead you to the universal understanding of
When the world that disturbs me and the world that I have an intimate
understanding of are amalgamated and absorbed, a new artistic dialect is
created. The conversation I hope to create in my paintings is a certain
truth of life and on a deeper level a well thought out philosophy.
Viewers may interpret my work in vastly disparate ways and each view
will be equally logical and plausible, thought provoking and intriguing.
A picture of the moment is built up in which whole histories and
relationships become visible.
My canvases are filled with fluid forms. They reveal pristine imagery
and reflect my moods. They bear forms which I give emotion to, a thing
of beauty, a physical sensation and emotional experiences. These
paintings are from my latest body of work "OM." These works are a pure
experience of Aum, sacred sound and a spiritual symbol in Indian
religion. It signifies the essence of the ultimate reality,
consciousness or Atman.
An interior designer and a fine artist by profession, I work from my
studio in Mumbai. These paintings, from my series 'The Essence', are
inspired by a trip I made to the monasteries in Bhutan. As my spiritual
journey began, I found my paintings became more and more meditative and
Butterfly: The theme of women has always attracted me. I try to
connect this beautiful form with another lovely creature created by god,
the butterfly. The transformations that happen in the lives of women and
butterflies are not easy. They are a symbol of beauty, aesthetics,
adolescence, romanticism, protection, fragility and sensuousness
together exemplifying the feminine power and strength and find a place
in my work. Landscape: My art reflects the deep sense of harmony,
mystery and beauty of the world around me. I had a love for landscapes
in my formative years. Inspired by the majesty and mystery of
architecture and nature, I have been feeling the urge to get back to
painting landscapes. My current body of work showcases my fascination
with the silent, ethereal aspects of the landscape. The transcendent
experience I create with the use of charcoal and bright acrylics allow
my landscapes to recede into a dreamy haze.
Women at their daily tasks are the kind of universal, enduring theme
that reveals as much about the person depicting it as it does of the
subject imagery. My latest paintings depict the dynamic forms of the
country's tribal women. Their flowing luminious garments are offset by
dark dramatic shadows, deftly textured to express fascinating depths.
Against a stern landscape the women emerge as strong indomitable
figures. Not aggressive, yet unflinching, they are the true protectors
of life. They bring water, the gift of life. Their earthen pots are
I am blessed! My passion is also my profession. Each experience of my
life, my training as a dancer, my thoughts, my vision, each emotion and
spiritual adventure is transformed as movement and colour in my
painting. I am very intuitive when it comes to painting. Sometimes I
work furiously and complete a work with total focus whereas some other
works require more discipline and time commitment. The colours are given
freedom to flow, move, and dialogue with each other. They are a
narrative unto themselves primarily - Colourscapes. Dancing was my first
love. The rhythm and colour of Indian classical dance has influenced my
work, it is not altogether surprising that I treat colour as
performance. On my canvases, colours engage in a furious dance. It is
like dancing from one colour to another. The space gets painted, in
fact, sometimes over-painted.
Kabir: Suddenly life changed from a mad rush to silence. That silence
started to talk to me and ask me questions. What is it that we actually
didn't have time for earlier? Or didn't we want to take out time? Were
we afraid of the silence? Why were we running away all the time? During
this lockdown my mind was restless and I tried to unlock my subconscious
self. I felt like something within was trying to surface. I was restless
to seek something beyond. I started reading about Kabir to quench my
thirst for the unknown. I started resonating with his Dohas and his
belief of expression of love which is the only medium that binds the
entire human kind. His thoughts of oneness with God started overpowering
my emotions. These emotions started taking the form of visuals. I began
to ponder about life and human existence. What is life? Was the life we
were leading meaningful? What are we looking for? In this series of
Kabir I am trying to express simplicity, love and devotion in visual
form. I have missed that silence, I am now trying to talk to that
silence and build my communication with it.
Painting comes easily to me, words do not. Forms, elements enter into my
space on their own and settle there in line with my conditioning, routes
and impressions. I just let them be there. These shapes, lines, hues
dwell there comfortably without encroaching upon each other's existence,
overlap but coexist peacefully. My paintings, images and prints are very
much about a process that has evolved over the years. The final images
maybe abstract in nature but there is a latent undercurrent of my own
convictions of visual order that reflects automatically in my works.
These reflexes of keeping some and erasing some elements after they
resolve make me believe that I have been here earlier, maybe in my
dreams. Deja vu.
Moonlit Walk: This painting depicts a serene moment at the end of
a long day, right before catching up with close friends, as I walk down
my usual path illuminated by the silver of the moonlight. Streetlights
start to fade into the distance, city noises are suppressed by the
weight of a cool breeze, as leaves rustle above, insects awaken and roam
about, nocturnal birds and animals start communicating and I enter into
a different world. The green represents the tranquillity of trees
surrounding my path, with magenta coloured flowers blossoming in the
calm of the night. The Moonlight blends itself with nature forming a
dreamlike aqua atmosphere.
I paint because it is soul satisfying. My human creativity finds
expression in my paintings and I express my ideas and feelings best in
paint. My images express peace and tranquillity in the Divine and
nature, this best conveys my deep sense of love for life.
In my paintings, the human figures seek to recreate the innocence and
simplicity of rural life, where tradition and a framework of cultural
values sustain the spirituality of a nation, society and individuals.
Nature plays a vital role and the figures, graceful and free-flowing,
are sometimes drawn from Indian mythology.
Seclusion has always cast a spell over me. This allows me to strike a
conversation with myself and nature. Being one with nature is something
very crucial to my being. It reminds me of my existence in the universe
and therefore my role which tempts me to say something through my
paintings. I prefer not to render my thoughts in colour for they cannot
represent the directness of my paintings. To me black possesses a power
with its innumerable grace to make a statement on its own.
"The outermost shell of a car for me is my own body." I love the freedom
of expression and interpretation that I portray on my canvas. I believe
in simplicity, hard work and being true to my creativity. I feel
spiritually connected to each car I paint on canvas. I have formed a
distinct style of my own, cars are something that I always wanted to
work with. I meticulously choose show cars which I have seen around the
world. This recent body of work and unique portrait-like style is
nothing but "Portraits of cars" having its own distinct features and
individuality. I am inspired by POP Art and by Andy Warhol, the American
artist who was a leading figure of the POP Art movement. he application
of gold and silver leafing on canvas, a technique that I have adapted,
is inherited from my forefathers, master artists of their times.
Kabalikruta, the swallower of the sun: In Ramayana, it is
narrated that Hanuman in his childhood thought the sun is a fruit and
jumped in the sky to try to swallow it. While Surya enjoys this child's
play, Indra is not amused. He hits Hanuman with his Vajra, which enrages
Vayu (Hanuman's father). Vayu (wind god) stops all the wind flow across
the universe, which starts troubling people. Hearing this, Indra and
other gods revive Hanuman and offer him many boons. Surya becomes
Hanuman's guru and teaches him all the Vedas. Celestial beauty in
memory of Harappa: The Mother Goddess is often the subject of my
paintings. She is the celestial female, a motif often seen in the visual
arts and architecture of India. She reminds me of the culture of
Harappa, the world's most ancient civilization. To me Sursundari
represents 'shakti', (the feminine cosmic energy), and I consider her to
be both auspicious and empowering.
'Anguish to Ecstasy' - My journey as a painter. Every true artist is
filled with this insatiable and indestructible energy of creativity that
makes him strive for the yet undiscovered frontiers of creation and it
is the most alluring challenge for him. In this process I have
experienced the artist's ANGUISH to express his feelings on canvas and
then his ECSTASY when it has taken tangible form through the colours of
imagination. Art is a way of meditation for me which calms my mind and
makes my soul happy. There are many ways of expressing what we feel,
some people write, some sing but I paint and this has no limitations to
it. Art is understandable in every country, no matter what the language,
thereby making my input more useful. Despite all of these things, I
truly don't know where or what I would be without art as it is a major
part of my life. When it comes to what my art portrays, I would say "my
emotions" at the very first place. Secondly, I show the character of a
woman in different aspects of her life whether it is motherhood or
bonding with her husband. Not only this but I blend nature with my mood
and emotions. Lastly doodling is an important part of art which I really
Self-taught artist Pulakesh Mandal was born in 1972 in West Bengal. His
father passed away early at a time when his mother was expecting his
younger sister and he spent his early years in an orphanage. He was
later reunited with his family, his mother, two elder sisters and a
younger sister. He worked, often in menial jobs to secure their future
before embarking on his own life's journey. He believes his art is a God
given gift and that he must return the fruits of his gift to society in
any manner possible. He tells his stories through his paintings with
many mythical elements. His paintings breach a psychological realm where
the strokes, colours and compositions speak for themselves, without
losing their poetic quality.
The painting shows iconic metaphors of a past life of the couple through
memories. It is a representation of their past life in different modules
and stages including both sweet and sour events. A pictorial array of
such memories in the relevant perspectives portrays the course of
various life cycles and the happenings in it.
I have been painting for the last 27 years and have tried to use my
talent to help people in pain. This is so because I myself have suffered
tremendously in life and know pain and suffering. Through my art I want
to reach out to the world and continue to help people in whatever way I
Since years I've experimented with my own culture and was never bounded
by academic discipline. My art is my mystic expression of the pleasures
in life and every painting is a romantic story told by the parrot and
mynah (Kissa tota-maina Ka). I have a Fascination for antiquity. The
subject matter may be old-fashioned, but the treatment is novel. My work
is very much in tune with the times. It is just that I prefer to go back
to our roots in search of our rich artistic traditions and put them in
the context of the contemporary. It's like an artistic excavation in an
effort to link the past to the present. Though not cut off from the
present, I tend to live in the past. It's a side of my personality that
adds character to my work. Blending the past with the present and
striking a right balance in the process is what has helped me establish
my identity. My paintings can help to bring out the ancient life of
India hidden from overseas minds as well as large number of Indian
minds. It is just like refreshing the forgotten past.
My art is the reflection of the inner truth of my life. And in my case
the truth is a harsh one. Being a Bihari by birth, I have experienced
the situation of the people of Bihar as well as the 'Hindi Belt'.
Gripped by the clutch of illiteracy, corruption, unemployment, social
inequality, poverty and communal disharmony, the Aam Admi does not get a
chance to cherish the basic rights allotted to the citizens of this
illustrious democracy. People of the 'Hindi Belt' who have humble
backgrounds are treated as 'daily-wage labourers' by their counterparts.
The callousness of the state governments also compels them to embrace a
life of humiliation and uncertainty in cosmopolitan cities. My art gives
voice to this class.
The Boats and Lone fisherman speak of an unusual silence and uneasiness
born of fear and uncertainty. We see a clear sky and sound of waves.
Hope when things return to normal, we will continue to respect nature
and it's bounty.
Photography is a passion that I have pursued since 1969. I enjoy
traveling and photographing people, festivals, architecture, landscapes
etc. My hobby has helped me to unwind and cope with pressures of a
corporate Job and view things around us in a different perspective.
Photography to me is a way of feeling, of loving. What one captures is
captured forever. It freezes a moment, and reveals how rich reality is.
Both the photographs are part of a larger canvas of work titled "Faith".
I have always been an admirer of music. It could be Hindustani or
Carnatic or Jazz. I listen to the music always in my studio, whether I
am painting or not. I started my professional career as an artist almost
Five and half decades ago. I have done many series starting from
Fantasy, Maithuna (Act of Love), Tree of Life, Tree of Life and Death,
Humanscapes, Earthscapes, He and She, Theatre of Life and now Rhapsody.
I have called these two paintings "Rhapsody" to reflect my growing
interest in music. In these paintings the heads are, for me, singing. I
have used oil paints, more liquid, and different waste materials to
I always try to portray a woman's emotional world through my paintings.
I have spent my childhood in a small village in Maharashtra. I grew up
in an environment surrounded by women who worked on farms. Even after
working on the farm and doing the household chores, they were active in
all the cultural activities, supporting their family through love,
affection and care and contributing economically on par with men. The
calmness, happiness and joy of the women I paint hides the secret of the
hardships they face. They are the most important pillar of the family
but their presence is not acknowledged by anyone. I do not paint these
women's pain and sorrow, but their happiness, love, care and joy through
my bright colours. I am very thankful to all these Indian women who
provoked me to paint this subject.
My colour and contours resemble prehistoric paintings on canvas, walls
of mountains and hills. Figures and faces come up on canvas without
layout. The prehistoric look of paintings may be defined as archetypal.
Lines are spontaneous, colour not gaudy but never subdued, they mingle
in the whiteness. My aim is to keep afloat my aesthetic and creativity
When I first came to Mumbai the first place I visited was Crawford
Market, the place anybody can fall in love with as I did. At the time, I
thought that I would certainly capture this place on my canvas and it is
with that thought that I have tried to recreate the beauty by showing
another era in my painting.
My works are the extension to my inquisitiveness for cosmogony. My
painting has a spiritual dimension in its purest sense. I am in search
of infinity, enlightenment and awakening to the true nature of beauty.
My paintings took shape from personal knowledge of this reality rather
than from doctrines handed down, and this is the very foundation of this
art-form's compelling power. The character, realization of the
surroundings and my spiritual inclination gets transmitted into the
painting itself. My paintings thus can be described as explorations,
search into the depth of the SELF conducted through the abstract gaze
that mark my journey into the spiritual dimensions of painting.
My paintings are a glimpse of the Gurukul system of education prevalent
still in rural parts of our country. I have endeavoured to adorn my
vivid creations with the sanctity and relevant vignettes of cultural and
educational heritage through various emotions and backgrounds, leading
to enlightened serenity of a sensitive soul.
I create artworks to express my feelings and capture the things I like.
My inspiration and experiences with the visible power of nature in
invisible form drives me to paint it. My journey is a constant
interaction or companionship with this invisible energy. I love to
explore as well as express the rich culture of India which is simple,
soaked as it is in spirituality. Rajputana is my favourite. I love the
choice of colourful dresses of the people and their way of life despite
the natural hardships in the region. The people have a lot of character
and traditional zeal and I try to bring all these aspects into my
paintings. Recently on my visit to Rajasthan, I met some old people and
asked them whether their traditions were being followed by the younger
generation. They told me that youngsters now dressed up differently for
trends inspired them more than the grace of culture. I was so moved that
I decided to keep their traditional dresses intact through my paintings.
In 2003, I passed my Diploma in Painting with First Class and then
started the real struggle to explore my space in the field of painting.
For the last fifteen years I have been working on different concepts. I
started my journey as a painter with portraits and landscapes and then
moved to the abstract. I explored several possibilities of landscapes by
visiting different places endowed with scenic beauty in Madhya Pradesh
and Konkan in Maharashtra. Being born in a Dhangar community I have been
familiar with the ancestral work of weaving which is now related with my
painting. I have observed the mutually evolving relationship between the
image of thread, its visual experience, texture, colours and shapes. Due
to the textures of colours emerging from each other, the art of weaving
creates an impression of the energy constantly moving from the depth to
the upper crust as if the energy is coming out of its depths.
An MBA in Sales and Marketing with a Diploma in International Business,
I found true inner calling and surrendered myself to Art almost three
decades ago and made it my profession. Art is akin to prayer and
meditation to me. I have participated in 50 exhibitions, with 16 solo
shows. I use my talent to help the brave hearts battling cancer and
children with special needs.
During my visit to Vasai Fort, I was reconnected to the elements and
concepts learnt during my earlier studies in architectural design. The
use of natural look of the rocks as a facade, the merging and blending
of the structure with surrounding nature creating harmony, struck me.
The use of natural texture of the rocks as building blocks creates a
beautiful masterpiece and enhances the overall beauty of the place,
without intruding into the nature around it. I have tried to explore the
use of the beautiful, natural, and colourful rocks of Vasai Fort in this
The impact of a palankhi procession, lit with diyas and gas lanterns,
accompanied by the sound of lezhims and dhol taashas, has stayed with me
since the age of eight. The villagers dancing rhythmically and throwing
fistfuls of gulal and puffed rice mixed with coconut pieces was
beautiful to see. Today the same music and colours which captured my
mind then have expressed themselves on canvas. Even though I have
settled in an urban area as an artist, the aromatic fragrance of the
soil reminds me of my past
Observation is key to my work. I observe the effect of time on things
and then translate this into art through a representational visual
language. I like to see the positive in everything. Reflecting this, my
work is an optimistic reinterpretation of what could be summarily
dismissed as the ugliness of urbanization combined with the ravages of
nature. My work is an invitation for those who like open-endedness, who
like to journey and discover for themselves, to see things differently.
My recent work have been conceived in my travels to various heritage
sites in India and around the oriental world. Socio-political conditions
always fascinate me, since art is related to what happens in the
society. Although it may not depict the actual events, my work derives
out of the political and social conditions I see. Knowingly or
unknowingly, these ideas develop into the forms and characters I create
in my paintings. My work is not just decorative. They are the face of
the expressions within. My experiences form the imagery, not the subject
itself. Layers of meanings may unfold as the viewer tries to delve
beyond the beauty.
Search within: My works interpret those objects which I come across in
my daily life. Bags, letters, etc. These are the objects seen during my
travel to places and that I have found attractive. Out of these came my
latest series, "Books". These books tell us many different stories, have
many secrets and each book has its own message. The same feelings are
reflected in my work, through different colours and various forms. I
love to play with light and shadows in my work using subtle relief. My
motive is to get acquainted with new objects and subjects and put forth
those in my work. The process of my work is in layers. It may be a layer
of colours which are developed on canvas or paper or it may be layers of
thinking process going on in my mind. Though some subjects are depicted
consciously, there is a spiritual side which tries to peep out
subconsciously at times.
Childhood is like a treasure for me. I like to drench my paintings with
the things I saw and observed as a child. I like to depict my emotions,
imagination and moments creatively like playing in rainy weather,
soaring over the clouds, flying kites and many beautiful things. I am
influenced by objects of childhood like kites, birds, balloons, toys,
trays, hats. Anybody can surely marvel the innocent charm of childhood
memories in my paintings. I feel joy when viewers start reliving their
childhood memories when they stand in front of my artwork. I show these
things in my artworks with an imagined character, a child whom I have
given the name, "PUPPY" and I paint him in my own creative style. This
character seems like my self-portrait. My artworks drench the viewers in
a flashback of their childhood memories which I hope they enjoy.
Bazaar: By Bazaar I mean the fish market and the word Bazaar in
local usage also means the "fish purchased". This place has fascinated
me for ages. I think it is not just a place of trade but a living
theatre filled with sights, sounds, smells and the hectic activity of
the main characters in this vibrant setting. I see patterns and
compositions in this vivid imagery of the myriad forms of different
varieties of fish, the varied shapes and sizes, colours and textures.
The Bazaar series is a small effort to capture the essence of this mileu
and to translate the Bazaar atmosphere into a visual language.
Ghusmat-The Suffocation: Things happening around me have always
subconsciously reflected in what I paint. These two latest works depict
the current situation everyone is experiencing in this Pandemic. The
physical and mental suffocation is due to the uncertainty and fear of
the unknown! But still hoping and looking forward to a better future.
My work "The Circle of Life" is a depiction of my understanding of
the simplicity and profundity of nature. At Shantiniketan, I had the
opportunity of being tutored by the legendary Ramkinkar Baij and Sarbari
Roy Chowdhury and I was exposed to the great literary texts of Nobel
Laureate Rabindranath Tagore, all of which went on to inspire my
canvases. I favour Abstract Expressionism style of painting, also known
as action painting, which is the last of the known art movements to have
evolved in the art world, with bold, vivacious strokes and stunning, raw
hues. My work has been consistently collected by art lovers and
connoisseurs across the globe.
I use colour as my theme of expression. I believe that colour is a
universal language of expression. I don't use colour to illustrate a
theme, colour itself is my theme. Colour has existence of its own, it
generates emotion and atmosphere, whether happiness, melancholy, warmth,
buoyancy or serenity. Emotion of joy, sorrow, anger is a language in
colour and nature encompasses all that is colour. Nature, which inspires
me, herself is a composition of countless colours and it is the tones
and nuances of these that I try to capture in my paintings.
My works present a riot of vibrant colours accompanied with a sense of
joy that showcases the Bengal School's strong figurative tradition
interpreted in a contemporary idiom. The joie de vivre experienced is
the reason driving me. The medium of reverse painting and the depiction
of the simple life of common people in my signature caricaturist style
amuses and enthrals the viewer. I take the inner perception of folk
elements and add a visualisation that gives the viewer a real sense of
happy attachment with my ideas. The rural figures are free from all sort
of modern jugglery. My figures are dressed in bright, gaudy costumes
that adorn street performers, but the eyes are gazing and drawn, the
faces are almost cartoon-like with podgy fingers, making evident the
irony and pathos that surrounds them. My paintings portray a melange of
the Bengali folk culture by highlighting the quintessential 'Bengali
Babu' lifestyle, in this case buying fish and feeding birds, through my
series of 'Baba and Beebi'.
I come from a small town in Karnataka called Hubli. Hubli, unlike most
fast growing towns and cities in India, has still retained its greenery.
I am lucky to have my house amidst a neighborhood where birds ranging
from peacocks to pigeons are no rarity. Over years of housing their
nests in my living room and hearing their constant chirping, I have
formed a deep personal bond with them and hence, they've made their way
into my canvas too.
Govardhan: Bhagwan Shri Krishna lifted Govardhan Hill to provide the
villagers of Vrindavan shelter from torrential rains. The incident is
seen to represent how God protects all devotees who take refuge in him.
Today, devotees offer a mountain of food, metaphorically representing
the Govardhan Hill, to God as a ritual remembrance and to renew their
faith in Him. The festival is observed by most of Hindus all over India
and abroad. For Vaishnavas this is a very important festival. Door:
30-35 years ago, gypsies or "Banjaaras" would come to my village to
sell toys and other items. All day they would sell their wares and in
the evening they would sit at someone's doorstep for food and rest. I
have painted a couple sitting beside such a door. I miss the memories of
my childhood which I share in my paintings now.
My art explores the eternal within the ephemeral. In our lives, we
vividly remember moments of peace, rejuvenation, energy, hope and love.
When memory strips the cognitive deluge of the time, a feeling lingers
even as the details retreat. How we feel about sights, moments and
experiences define our memories, which become anchors in our lives. In
my work I bring a piece of "outside" nature to "inside" of your homes. I
want to instill calmness and joy that is in nature through my paintings.
Being in this pandemic, in these most trying times, there is a
heightened sense of gratitude for everything we have. Everything is a
gift. When covid hit us, the relentless numbers of affected, were
overwhelming me. I decided to channelize the anxiety, fears and
uncertainty through painting. Painting has always been my refuge in most
difficult times of my life. It is calming and rewarding. These water
colour paintings are a part of my "100 days of artwork" series during
the covid times.
Why do I paint? The question haunts me. Perhaps it is woven into my
consciousness from childhood as a rainbow of colours washed over my
senses. I remember the green of the mossy walls, the white of the
egret's wings, the yellowish milk in copper vessels, the colours of the
clay idols of Saraswati that took shape in my uncle Subodh's hands and
the blackness of night. What do I paint? I paint the high walls of the
city and the towering blocks of concrete that rise up to the sky. As I
splash colours onto the canvas my restless heart sails the river of life
while its swollen waters are dappled with glimmering hues.
Mumbai: My painting takes the viewer back to Mumbai in the
British Colonial period before India's Independence. The classical
architecture of the historical buildings often are a reminder of the
development and progress of trade and commerce. The street lights are
highlighted in shades of black and white to give a realistic touch to
the scene. 'The city that never sleeps' tag has been highlighted in the
image with cues such as the moving carriages at night. The city basks in
twilight and is splashed with nuances of blue to make the viewer
remember the beautiful cacophony of the rains; again something the city
widely is known for. It is a rhythm of light and shadows.
Banaras: Banaras, one of the most visited holy places of the
planet, has been displayed in this creation. I have tried to capture the
beauty of the city with a microscopic eye, bringing for viewers the
gentle waters of the Ganges, the boat rides, the morning worships at
sunrise, the evening 'Ganga aartis', the high banks of the ancient
ghats, the array of shrines, the myriad temple spires, the palaces at
water's edge, the ashrams, the pavilions and the palm and cane parasols.
Throughout my career, I have been fascinated by nature, human and animal
species. My artworks explore nature in all its aspects, with its myriad
views, textures, colours, and the co-existence of various species. My
paintings help me to express my sensibilities and the boundaries of my
subjects, to express my social concerns. I paint in oil on canvas. Both
in the process of creation and my subjects, my work addresses issues of
social causes, like endangered nature, globalisation, urbanisation
through a unique feminine perspective.
I try to imbue my art with colour, mysticism and romance. My works
feature a cast of ethereal mythological beings from the Hindu epics with
long limbs, cascading hair and a flame orange mist of vermillion dotting
their foreheads. I focus on the sublime and poetic aspects of ancient
Indian myths and legends. A favourite theme of mine is the divine love
story of Radha and Krishna, depicted as two young besotted lovers. The
beauty of the art lies in the serene, graceful aura that radiates from
my aqua and blue green heroes and heroines and the lush forest of
natural imagery they are set in. The paintings are dotted with blue
lotuses, doves, peacocks, birds and the omnipresent flute. The ethnic
subjects and themes are rendered with modern aesthetics and tradition
mixes freely with contemporary techniques.
Jagannath is described as Param Bramha, who can move without feet,
see without eyes and listen without ears. This explains why Jagannath
has no ears, no hands and no feet. But such an unassuming and truncated
look of the idols begs a sociological explanation. Lord Jagannath is a
symbolic representation from all religious perspectives. I have depicted
Lord Jagannath with the melange of the traditional or the known form and
the secret belief in visibilities; Hands holding Shankha, Chakra, Gada
Padma and the widespread eyes manifesting the solar cycle or the
magnetic flux of the universe. Lord Jagannath, as an embodiment of the
complete concentration of all the powers on Earth. Krishna is
represented in the Indian traditions in many ways, but with some common
features, wearing a peacock-feather wreath or crown, playing the
bansuri, accompanied by cows or a calf, with the gopis (milkmaids),
making music or playing pranks. I have tried to show his spiritual
essence and the love-eternal in existence, the gopis metaphorically
representing the prakṛiti matter and the impermanent body.
My work is my way to communicate my feelings and thoughts with my
viewers. There are so many expressions in our daily life that we
normally do not bother about, such as light and shadows, never ending
love, old doors, verandahs, trees, flowers everywhere. They are all very
much related to us. When I think on the relationship, I touch my life,
my past. Normally we try to search for the super power outside, but I
believe the beauty and existence of the power is found in love, in
blessings and smiles. I try to reach it by searching constantly, even in
We modern Indians find it difficult to believe that God takes birth on
earth in mortal form and lives a life full of challenges along with us
while working to rescue us from evil and problems. Is this topic
relevant to a common man? Can a common man try and attain divinity?
Hindu culture has always attracted me. It is vast and has various
perspectives. Every perspective has an image or a metaphoric
representation. Fine art of India is rich due to allegories from our
mythology and folk tales. My paintings touch upon the theme of the
divine descent on earth or the manifestation of God on earth.
I started my painting with water colours during my school days when my
Drawing Master thought I did well. He further trained me and I obtained
State awards during the time. The Drawing Master wanted me to join an
Arts college, but middle-class life wanted me to pursue another
profession to earn a living and hence painting remained a hobby. I would
paint intermittently, mostly as presents to friends and relatives. Post
retirement, I found time to again pick up a brush and colours on a more
regular basis. This painting was my first attempt with Acrylic colours
on canvas. I experiment with mixed medium since, and love nature and the
wonderful colours it offers. This painting is influenced by my stint in
After my post graduation diploma in art, I decided to make an identity
for myself by painting architectural landscapes as my trademark work.
Buildings may be mute spectators, but they hold the life of a city. I
love to watch the light play on buildings. The same light illuminates
different part of a building in many different ways. Window, door and
motifs on the wall give out a different feel in the same light. Besides,
the same building looks different at various time of the day. I love to
capture that sight. Through brushwork and hues, I highlight the beauty
of buildings by recreating these marvels using a vibrant colour palette
and technique that oscillates between being in-the-face to subtle and
suggestive both instances replete with the exquisiteness of the built
I feel relaxed while painting, converting an empty white canvas into
colourful art gives me immense joy. I am inspired to paint doors of
different shapes and sizes with vibrant colours and believe that every
door has a story of its own.
Cave paintings of Ajanta in particular and Indian arts in general are
always a special attraction for me. With a realistic touch, geometric
division of the canvas and the artistic division of human anatomy, I
always aim to create a new very personal style. Combining contemporary
art forms with various textures I endeavour to create an atmosphere of
mystery and drama in my paintings. This endeavour makes my women in the
canvas very real. Their smiles, cries and pain become real, as if they
have entered the canvas from the real world.
Art for me has been a means to spread happiness and positive vibes to
the people around me. Even though I have studied business and was ready
to join my family business, I always felt something was missing. It was
only after the encouragement of my close ones and the success of my
first experience, that I understood that art was my true calling and I
have never looked back since then. Being a Pranic Healer, my objective
has always been to spread happiness through the vivid use of colours in
my artwork. I have always used my creation as a medium to spread
happiness and love.
Each of my artworks is a portrayal of my inner soul. My paintings,
sculptures and each of my creations are a manifestation of joy and the
celebrations of life. They are a method for me to connect to the power
above us. When I create something, I find myself connected to Him
through my soul and when I complete an artwork I feel a sense of
completeness within and find my inner peace in the process of each of my
creations. My artworks are a mirror to what I see, believe and witness
in my real life and how they inspire me. To heal people through my
artwork is the biggest achievement for me as an artist.
Our family has a wonderful rural background which has had a lot of
influence on me because of the animals, the birds, the green fields, the
people there and their way of life. I moved to the city a while ago and
the city effect is in my paintings.
Fish cleaning girl: The fish cleaners in the kitchen garden used to
drain the water from them to the plants and the water was good
fertilizer for the seedlings. There were chickens and cats in the house
and the bed was placed across from them.
Girl listening to music: A group of people holding a tape recorder and
listening to songs in the villages during the 80's and 90's, making loud
noises while walking around the streets.
I spent my childhood and early youth in the quiet idyllic environment of
rural Bengal. The soothing lyrical landscape and intrinsic mythical past
within the rural life made a great impact on my inner being which
aroused in me the love for spiritual beauty, making me contemplative and
I have admired the panoramic caves of Ajanta and Elora, the shrines of
Banaras and Bharmour, the hill towns of Kugti and Chamba and the cities
of Mumbai, Amritsar & Kolkata. All these scenes have inspired me.
Earlier on I have worked in serigraph and intaglio process, but moved on
to impasto technique. I feel impasto creates a freshness with the thick
pigment. The intermingling of those thick pigments generates mysterious
strength of its own in various colours, creating vibrations on the
surface of the paintings. I feel this causes the spectators and the
artist to feel connected with the painting and this love is all that
I execute my pen and ink works on canvas and paper. My subjects cover
all aspects of nature, rocks, birds, trees, shrubs and even the elixir
of life that is water. My black and white world always includes a touch
of colour in the form of birds and flowers.
To me, painting has been a self-discovery. An artist paints what he
feels, experiences and sees in his life. I was born and bred in
Nandurbar, a tribal area of Maharashtra. The tribal atmosphere aided in
nurturing my inner emotions to express the feelings of attachment with
the tribal community through my paintings and sketches. It stands to
reason that in my paintings the figures are humble and unpretentious. I
have always been deeply influenced by the privations of these simple
people who would go to far-off lands to earn their livelihood. I am also
trying to contrive the living image of their contentment and enjoyment
of life by adding the embellished patterned foliage in an ornamental
"The Chanting" originated in my mind in the peaceful hills of Ladakh. I
have tried to capture the positive energy created by the sound of the
monks' chanting on the peak of the hills at dawn. The inner peace is
mind blowing. The bright red colour is mesmerizing with texturized rings
as vibrations and the invincible Lord Buddha looks on.
"The Happy Beginning" with a bouquet of flowers can be a glory to any
wall. The textures in the painting with soothing yet attractive colours
and composition brighten the mood of the viewer. It has a magical
welcoming effect. The abstract look of the painting makes it very
Born to a prominent mythological painter Indra Sharma, I learnt about
colours at a very early stage. After winning a gold medal from Sophia
College for Textiles, I joined New Great Mills where I created a large
number of striking 'colourful' designs and patterns. I was one of the
youngest designers to represent my designs globally. My legacy from my
father, as well as my expertise in textile designing taught me that
colour, rather than form, is the primary medium of pictorial language
which I entwine into all of my designs. My signature motif of soft,
weaving patterns floating on a geometrical field of colours is all about
orchestrating a symphony. The repetition of forms and subtle colour
juxtapositions is like a musical composition in an orchestra where the
simultaneous contrast is the very best of the painting.
Lakshya In this picture some children are preparing to shoot at
their target. One of them has already achieved his goal. The children
are aiming at their target and are focussed on the goal. In order to
conquer the darkness of life, to achieve positivity, concentration is
required. My work tries to convey the enthusiasm, concentration and
positivity in life. Dabbawala: In this painting, a Dabbawala is
standing with his handcart. The simplicity of his attire, his uniform,
is his badge of honour. His work is to provide food on time to countless
people while making the stressful journey in local trains and finding
his way around crowded areas of Mumbai, yet there is spontaneity in him
while he is working.
The Corniche: This is inspired by North Africa's Roman Road, all
the way from Alexandria to Gibralter. I have had the good fortune of
having lived in Egypt, Libya and Tunisia. The caravan trade route
between Alexandria, Carthage and Tripoli in the Roman times has been
fascinating for me, especially since I have walked on these ancient
routes and tried to imagine how many people have lived and walked on
them. When I saw the ancient cities of Leptis Magna and Sabrata outside
Tripoli, I was fascinated to see the almost intact Roman cities on the
Mediterranean. I have always loved the myriad shades of the waters of
the Mediterranean and enjoyed walking along its Corniche, in Cairo,
Tunis and Tripoli. This painting pays homage to my wonderful memories of
living in North Africa.
The Blue Treasure: I have always loved water bodies of all kinds,
be it rivers or seas or oceans. As a child, I lived in Sudan where the
longest river in the world, the Nile flows. The most fascinating part
for me was to observe the Blue Nile merging with the White Nile in
Khartoum. The blue hues of the waters carry the intense colors of
lapislazuli, a precious gem stone believed to carry the spirit of Gods
by the ancient Sumerians, whereas the Egyptians saw it as a symbol of
the night sky. I have added my signature crescent moon to complete this
painting which is an ode to the mysterious Nile river which is 30
million years old.
My paintings are an immortalisation of deep silence turning into
primordial sounds. They are scripted with broad lines and strokes that
draw out and depict feminine energy. I try to place on my canvas the
vastness of distant landscapes. My blacks diminish into grey and,
equally effortlessly, the green recedes into the ochre gold. The land
begins to go deeper where the water ebbs and a lesser known village
When we engage in the arts, we dip into our souls to discover deep pools
of wonder, breath-taking gifts of beauty and quiet revelation. As we
create, we are invited into playfulness, poignancy and surprise -
energies that renew us and revitalize our sense of purpose. Through my
recent suit of works I seek to explore the realms of mythology,
folklore, innocence and the vibrancy and beauty that are present all