Bangladesh Art Gallery hosting a group exhibition of young artist from Kolkata titled “inner space”. This exhibition was sponsored with the courtesy of the Dy High Commissioner of Bangladesh in Kolkata. The exhibition showcases works by the young artists; a rich montage that offers rare works of the artists’- Debasis Podder, Kumar Sinha, Rupa Mitra, Pranab Roy Chowdhury, Sekhar Biswas and Md. Iftikar Ali.
Debasis Podder’s Radha Krishna series depicts Indian mythological concept and his paintings seems to be in search of pure myth that carries faint impressions of a world bleached and blurred of visible phenomena. There is an ideological presence of illusion, the mystical nature of existence brought to the fore. Paring away the cool reflective space of shadows and silence is evoked, with an occasional blue or white line crossing over the surface.
Rupa Mitra keeps her painted world sparse and frugal. Her exuberant canvas with its breezy lines and wry romanticism is another example to cite.
Sekhar creates in his colour saturated canvas, an intense opticality through the play of lines that are pulled in different directions in/with equal interval of spaces and the rhythm of the horizontal, vertical and diagonal forces casting shadows to create subtle illusions of depth and relief, that shift and move the otherwise static pattern to reverberate in the manner of a musical cadence. Musical notes, architectonic patterns and basket weaving patterns of geometry come to mind while looking at Sekhars work.
Kumar Sinhas alertness to sensations around - hypersensitive to movement, sound, echoes, flutters or a whisper - translates into a breathing imaginative form in his drawings and paintings. The solitary bright brick-orange colour holds the subtle divisions of space that enhance the play of light and shadow.
Pranab Roy Chowdhury’s figurative works in acrylic portrays mask-like stylized human head is overwhelming in its presence, almost like an icon drawn from local myth or folklore. There is an incipient melancholy in his paintings and an intriguing play of texture, the look of threadbare weave that carries with it suggestions of ageing and decay. Md. Iftikar Ali’s work seeks unconventionality in the conventional. This openness to make and break rules is making painting today, more elastic than plastic, more mobile than frozen, less prescribed to be more inscribed with individual artists personal scripts and expression. Thus painting in India will remain alive and well if these young artists continue to empower it with the signification of our times.
Confronting Globalization - The Indian Art News(2007-06-22)
Mon art gallerie presents an exclusive group exhibition (till 30th June). It’s titled as Confronting Globalization. The exhibition, curated by the veteran art critic Mrinal Gosh, had on display 25 paintings in different medium. This exhibition was the paintings of nine artists (Barun Chowdhury, Arun Bain, Debashish Manna, Debnath Basu, K Prasun Roy, Kazi Nasir, Robin Roy, Rajib Chowdhury, and Rathin Kanji), most of whom were born during the decade of 1970s and came to their own during late 2000, whose paintings are presented in this exhibition, have somewhat or other developed their forms out of this globalized reality. This exhibition showcases how this artist have confronted globalization and reacted through their forms and concepts. Globalized natures and figures as formed in the artists’ minds have found a place in there creation.
Significant among them is K Prasun Roy. His canvas always goes through a new world of civilized reality. Naturalistic realism has come back with a different motivation in his work. He unmasks the serene melody behind the reality the youth of today constantly confronts. His canvas critically analyses the reality that globalization posits. Kazi Nasir’s realistic approach brings multiple indications, thinking and meaning through the relationship of time and timelessness. Arun Bain’s canvas also depicts the theme of journey of human life through the time. Evolution of modes of journey through the passage of human history displays the evolution of technology and that of mankind. The conflict and the harmony implicit within it is the basic theme of his work. However his abstraction is most playful and dynamic. Barun chowdhury extracts void out of his narrative and naturalistic rendering. His canvas depicts the ironic contrast of speeding life of the globalized reality and horror generated out of it. Debases Manna’s painting portrays the reality through fragments. Extracting beauty out of the darkness is the essence of his creativity. Debnath Basu’s visual imagery is replete with very comprehensive linguistic text a diagram. Through his paintings he tries to build up a conceptual language of art, which considers essential to unmask the present globalized temporality. Robin Roy often creates a red space in his paintings. The space represents the void that is the core of reality the present globalized environ has ensued. Rajib Chowdhury’s canvas indicates the contrast he likes to bring about between the life and its paraphernalia. Rathin Kanji’s mixed media work on canvas is very suitable with the title of their exhibition. In his paintings the dark conceptual space derived out of globalized reality to unmask the void out of it.
Paintings by: Rathin Kanji, Kazi Nasir, Robin Roy and K Prasun Roy.
MITHUN PRAMANIK
SCULPTING TIME - The Indian Art News(2007-06-20)
Debabrata Chakrabroty is a known name. He often creates the geometrical shapes within a formal structure in his work. And there is a clear movement towards experimentation in which sculptors like the one on display at Galerie 88 were striving for a new identity. This show sets out to cover all the ideas that the veteran has embraced in his long and distinguished career. If there is one reason why he can claim to be considered among the best is that he never repeats himself. A touch of tenderness in one work and virility in another. The sculptures of Debabrata Chakrabroty - some created way back in 1958 and some as recent as 20005 - rouse an entire gamut of feelings in the viewer, and one cannot help wondering at the sincerity with which this septuagenarian artist has continued to work over decades without thinking of material gains. Galerie 88 is holding a rather crowded exhibition of his works.
Such devotion to art is rare today. Just as rare is the pleasure afforded by the contemplation of the kinetic energy of such works as the two forms riding piggyback on each other, of the skill with which Chakrabroty moulds the portrait of a young girl, and if the sophistication of the near-abstract form of the figure in meditation.
Chakrabroty is perhaps one of the first Indian artists to have used fiberglass as far back as the late Sixties. Even without being commissioned to do so, he has created over a dozen large pieces using the same material. These are now lying at his home in Bally. Here, however, he exhibits his smaller works.
TOWARDS A NEW REFLECTION - The Indian Art News(2007-06-14)
Reflection of Another Day presents Confluence – An exhibition of the works of its members by Biplab Datta, Chandan Sengupta, Moloy Chandan Saha, Nirban Ash, Sujit Gosh, Sujit Saha and Suman Pal at Chitrakut Art Gallery (Kolkata). The exhibition, inaugurated by the veteran filmmaker and painter Nabyendu Chattopadhyay, had on display 21 paintings in different mediums. The seven painters who have joined hands together in this group-show have no such unity of style. Neither have they formed any group form any ideological point of view. Each of them has an individual form, which he has achieved through his long meditative sojourn through the field of creativity and personal world-outlook. Thus diversity of form or plurality of expression is the characteristic feature of this show. Yet there are some common points. All of them started their creative career during earlier or later part of the decade of 1980s or 1990s. In this show we can, therefore, detect seven different trends of creativity of that decade. All of them have some individual naturalistic style and they have transformed it into a kind of fantasy to enter deeper into reality.
Chandan Sengupta, who is junior most, is somewhat exceptional. He has no art– institutional training. At the early stage of his career he was privileged to have some training under the great master like Robin Mondal. His images lead the viewer to believe where figure swim through the canvas and seemingly inanimate figures metamorphose into living, breathing entities. Through his mix media he has delved deeper to unveil the mystery or mysticism of existence beyond the apparent reality. He is now important painter who has made ample contribution to extend the philosophy of our modernity posited by neo-Indian school to contain the contemporary ethos.
Biplab Datta has graduated from Govt. College of Art and Craft. He enters into the realm of fantasy through slight distortion or often over emphasis on his naturalistic form, in which he has an adroit skill. The woman face is the mirror of time and place enlarging themselves towards a chimerical existence of consciousness.
Sujit Saha is well known artist. The famine facts of fragility, fragrance, and frailty are framed with brewing fitness by Sujit. The treatment of womenfolk is tended with tinged acrylic pastiche of figurative facial manifestation. His gift of painting with embossing tones and frapping temper makes his creation more acknowledged and what is worth mentioning is the artist’s attempt at integration of different religious beliefs that recur of his creative ideas on canvas.
Sujit Gosh’s landscape is very close to abstract form. The paintings depict the basic colours especially the shades of red and green in a naturalistic style. Suman Pal’s lyrical fantasy has some link to our traditional folk visual culture. Comparatively Moloy Chandan Saha and Nirban Ash have shown compositional weakness and lack of imagination.
Thus, the seven artists display a common link to various trends of fantasy to dissect the predicament of contemporary reality. So this is an exhibition that ought not to be missed.
Diamond-not cut-glass - The Indian Art News(2007-06-14)
Diamond-not cut-glass
Nature, Woman, Imagination, Dreams. Added to these the poetry of a fish skimming the depths of water. Decade after decade Jahar Das Gupta has delved deep into his finer senses to visualise on canvas, to bestow an artistic interpretation. At times he, has succeeded, at times he has not. But, in search of a personal idiom he has relevtlessly dug into his existence. There has been no short-cut in this desperate search, nor has these been any deceptive recourse to gimmicks. Jahar knows, life is a search which demands persevenvance and patience. Life challenges an artist to bring out the real treasures from it's bowels. Where there is no protest against decay and death, where is not murmur of life, Jahar is is conspicious by his absence.
I have known this self-effacing and very courteous man for a long time. I have observed him in varied situations. In the hustle-bustle of organisational activity and in the privacy of personal loneliness. Through his work Jahar has tried to draw a bridge between two extremities. A bridge on which aesthetes can come closer and closer to each other. I have had occasions to travence this colourful causeway.
Jahar cannot stay alone for long. To bring art out of its ivory towers, to make it accessible, he has in his exuberance taken along many people with him and has joined hands with many. His relations with people diverse mediums of art are intact even in these demoniac tunes of discrimination and sererationa. Jahar knows how to love, how to give voice to love. It is have that art mingles with humanity.
In his artistic interpretations, there is an intensity. There is also extreme restlessness, which often shelters the mirage of peace & calm. Which tries to play on the strings of reawakening. But there is no overindulgence in his art. This full of life and big-hearted artist does not overstep the time of restraint in his work, which can be self-defeating. All in all, there is a strong under current of dramatic content, which agitates ones experience. Above all, his paintings time, brings alive the poet in are. They inspire me to poetic heights.
At the sunset point of my life, I am drawn towards this man who is always a soothing balm to restless human souls / spirits. Wish Jahar a very active, artistic future-a long, long life full of life, verve and zest.
By
Amitava Das Gupta (National Poet)
Painter Jahar Das Gupta: an artist on the move - The Indian Art News(2007-06-14)
Painter Jahar Das Gupta: an artist on the move
Painter Jahar Das Gupta is a known name. I know him since long. Have seen his work at different timed. I am also aware of social commitment as an artist.
To reach art to the masses, to arouse interest in people about aesthetic; workshops and art exhibitions are conducted. Jahar has always been a part on several occasions.
Jahar is a socially conscious artist. Many artists, in present times are much internalized. They feel no need to assist the creative process. The heartbeat and pulse of society mean little to them. They are content being surrounded by dilettantes and admirers. Jahar Das Gupta on the other hand wants art to spread wings, to percolate into the lives of ordinary people.
I had once asked hum, how he managed to work when he was busy organizing things all the time. He replied, “The state of the mind is always influenced by the actions and activities in society. One cannot create by being isolated.
Art is confined to a few intellectuals and art lovers. People at large are not aware of its existence. Exhibitions are mounted in elitist areas. The ambience is always the same at such events. One comes across the same faces.
Corporate sponsors and dealers in paintings do manage to sell woks of art among the moneyed and well to do. But, sadly, they do not imitate the spread of art on a wider social canvas. Jahar Das Gupta is coguisant of this and is always on the look out to full this void.
Jahar normally works in water colour. His art is two dimensional in form and linear in content. The use of colours is bright, the texture is compact and the work is rellant on surrounding. The thematic juxtaposition of ideas presents a novel approach. In his work there is a fusion of a modern mind and style with an independent streak. In this respect towards the traditionally art from there is a richness of self- realization.
Jahar had his training in art at Kalavan at Shantiniketan. Initially his work reflected the traditional Indian style of Kalavaban. Though, now his work is reminiscent of the environs of his training days, the folk tradition and its stark simplicity, the style is free from the Kalabhavan effect.
We have been witnessing Jahar’s work for the last ten-year. A few days ago, in the artist’s studio, I spent a whole day looking at his paintings and talking to him. I would like to mention only a few of his pictures here, to describe his present experiments and practices.
The first picture is a static deer and a flying crane. In the middle of the frame is the deer, wide-eyed, in a tangle of creepers and foliage. Lower down in a corner is the crane, wings spread out in full flight. The atmosphere is blue. The balance of colour and geometric arrangement creates a feeling of loneliness of the jungles.
Another painting has a male and a female form floating in the azure sky. Lower down on the same plane is a fish, its’ scales knitted in white and blue. The fish here is probably a symbol of sexuality, the man-woman relationship, love and creation.
The third painting is of forlorn boy, a banana tree and a bird. Under the green banana leaves. The boy sits with his face cupped in his palms, watched by bird. A bird free from falters and cages. The entire layout is striking. The use of colour and the feeling created is one of loneliness and confinement.
The subject of a fourth picture is unique. In the middle of the canvas top is a pain of birds in flight. Below, on the frame is the face of young girl, an embodiment of yearning and isolation.
The fifth painting is an experience of this age and time. A flying man, the moon and down below, our poet-friend with a lighted cigarette between his lips. The cigarette expresses our present times. The use of colour is suffused with empathy, the balance is perfect.
Most of Jahar’s work is of high quality much admired. The few of his painting I have mentioned have is to highlights his experiments and creative approach.
As an artist- and – as a person, Jahar is very dear to us. His progressive an enlightened mindset lends him a special personality.
He shuns the cocoon of self-centredness. He empathises with man& society. Colours and forms, creation and commitment, dreams of an artist and social realism keep him on the move. Vibrant and effervescent. Never the one to stagnate.
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