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A genuine connect

As the market gongs boom, announcing event after event, pressure builds up on the scribe to run from pillar to…

A genuine connect

As the market gongs boom, announcing event after event, pressure builds up on the scribe to run from pillar to post to view artworks and donate generously to the art world by way of appreciation, obliquely adding to publicity and advertisement of each event, artist, gallery, “promoter” and “curator”. Progressively, as stature gets to be determined by patronage and clientelle rather than quality and culture, sensitivity gives way to hard core business sense, taking a toll on both the practice and its practioners. The feeling of entering a temple while approaching art spaces, the sense of elevation, of stepping into the hallowed precincts of the inner world no longer tingles the senses. How then does one measure a huge, mega art supermarket, where naught but the wallet is of consequence?

Thus, having set out to wean one’s way from the huge conglomerate of wares and agents, into a core of gentle feel and understanding, not only of the arts, its creation and destinations, but also of the philosophy of the arts vis-à-vis life as a whole and its mode of expression. After much fumbling and exploration did one touch upon a tete-a-tete at Art Indus, Complex Santushti.

Who were the artists the curator chose for showing in major recent events, and why, particularly for her personal take on them, as this has been an area of considerable interest: Abani Sen, Asit Haldar, Jamini Roy, Sunil Das, Haren Das, Jogen Chowdhury, Ramkinkar Baij, B C Sanyal, Sailoz Mookherjea and Ganesh Pyne.

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Of Abani Sen she mused, “He was a true master; his strokes and lines were so effortless and so in character with what he wished to depict. An unseen magical world of light and shadow would naturally transform onto his canvasses. There was a refreshing sweetness in his works as he painted in flashes of inspiration chasing beauty. The ethereal light would make ordinary subjects seem magical to him. Perhaps in his portrayals of animals and children he found a natural connect. Even the scenes of misery and suffering that saddened him deeply, were painted to soothe rather than to shock or repulse, portraying even street people with poise and dignity amid their immense suffering!

“Sunil Das’s works are so dramatic and always leave a strong impression on me. Horses, bulls, Godesses and men all seem supremely human, terrifying, woebegone, defiant in their condition. Visuals that are beautiful and in a sense cathartic. A favourite work of his is one I like to call ‘Kali with blue eyes’; Art Indus has a few very good works of Sailoz Mookherjea. The backdrop of his canvases have such subtle yet such vigorous movement. An undercurrent sweeping across the surface like a gust of wind, and thin lines scribbled to accentuate the impression, like a tempest.” Much like the man himself.

“Haren Das’s works could be called a window back in time, that lets one gaze upon those simple times, stirring a deep longing for that purity and simplicity. B C Sanyal’s simple landscapes are classics that hold me in awe every time I view them! Yes, we do have a sizeable collection of some of the finest of Jamini Roy! Works recognised as the Jamini Roy style re-invoke the context of the folk art of his native Bankura.”

In answer to why she made these choices and what made them personally special, Vijaylakshmi Dogra’s response is candid. “I just followed my heart. My vision was to showcase our simplicity and uncomplicated art because I do think it’s possible to convey volumes in a few stroke. I do think the collections have been like a breath of fresh air ~ intellectual yet not intellectualising unnecessarily. It was basic and simple yet achieved its purpose. I wanted to exhibit my collection of artists of the old Bengal school and thus the diversity in mediums was no surprise.” The directness and ease breathes a genuine connect, and thus touch at many levels.

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