Call for Entries

http://asiasociety.org/philippines/asia-society-photo-challenge#node-32215

“…Through my work I like to question, for instance, a human ability to handle ugliness; and why it shouldn’t? To what extent a human being could digest ugliness?”…

“…Through my work I like to question, for instance, a human ability to handle ugliness; and why it shouldn’t? To what extent a human being could digest ugliness?”…

An upcoming talent from Mumbai, Deven Bane has a free flowing, gushing energetic creativity that he projects through his sarcastic and critical yet thoughtful visual and wordy comments that he makes in his mutilated figures; the higher version of Doodling. For Deven Bane, Doodling turns into art and his art represents current global society. Let’s review his energetic start of career through his interview. 

JK.: Doodling basically projects care free attitude, what inspired you to develop it as a serious art?

 D.B.: Earlier I did only portraits. Though the overall body of work was ugly and in that sense beautiful at the same time to me, I did call them heads, as they ended up with two vertically parallel strokes to give a feeling of neck or a tilted face. But I felt some blankness in them as they did not actually resemble any human being; I just thought those should. And they were just mere doodlings, I thought maybe I could give it a try, working with softwares and converting this absurd game of finding faces in doodles and using them on photographs of any person. And the result was  quite  wonderful , so I kept on making them,  doodling just happened and it became prominent  when I started working on magazine covers , I thought I might get sued  for  working on their  copyrights, so at first attempt I just ignored them or  rather just deleted them from my  work, but in that process I thought I could just use these titles or may be  convert them into comments ,or use them as my own  subjects, the subjects which just strike me randomly. 

JK.:  Do you personally feel your creations are buoyant/ cheerful?

D.B.: To a certain extent yes, they are; but it all depends on the type of image I am working on at a particular of time and whatever I work on them. They are all taken from  my  past experiences or the conversations which I had or read  or just from the mere cracking of jokes that I remember while chatting with my friends  just instances that come to my mind at that point of time. I present them or sometimes play with them or sometimes the result is absurd with no connections whatsoever.

 JK.: Do they have any message or are they just visual treats?

D.B.: Yes they do have, because when I digitally or sometimes manually manipulate these portraits, the portraits of men and women who are already well powered or famed, I try to create an action which definitely is not adorable or attractive. And yes, through my work I like to question, for instance, a human ability to handle ugliness; and why it shouldn’t? To what extent a human being could digest ugliness? Why does only beauty survive and what is the real beauty? Why such polished faces are hammered for many years and so on…These things just come to my mind while working, also I am still working on them. I think doodling sometimes does give a childish and uncanny or a humorous touch to the work.  

JK.: Which personalities have influenced you?

D.B.: Many…Souza was the first and the biggest influence. Initially   I was not able to understand  his works but definitely was amazed by looking at his body of work, so I just  read  whatever I could find about him in books or on internet, then  I  also liked the works of Duchamp, Frank Auerbach, Glenn Brown,Chad Wyss, Rosemary Cronin. I have this  stubborn  approach  for searching artists on net  when I come and stop at a certain  phase  of my work . Whenever I feel that my works are taking a slight turn in visual sense, I do read about them or do some R&D if I find them interesting, but whatever is the result I continue my process. Such R&D just makes me aware of my contemporaries or gives me a direction ahead.

 JK.: Do you like any of your contemporaries?

D.B.: Yes, there are many like,  Sudarshan Shetty, Manjunath Kamath, Atul Dodhiya, Yashwant Deshmukh, Nasreen Mohmmedi,Nikhil Chopra, Rashid Rana, Valson Koorma Koleri, Ritesh Meshram , Sreyas karle, Prajakta Potnis,Tushar Jog and even most recent artist almost of my age if u would ask , I like  few works of Ubik, Vikas Holle, Pratap Morey  and Bhuvanesh Gowda and  many more.

JK.: Tell us about your creative process.

D.B.:  I work on canvas, lenticular prints, magazine ads and their cuttings. It all starts by taking an image and then working accordingly using their scripts and compositions. I try to create some kind of link of my past experiences and actions, I try to memorize them which might be even foolish sometimes, or some kind of jokes shared at any instances. I match them with the image or sometimes overlap them on the picture or even tease or make funny comments on it. I try to destroy the basic pattern, once I feel that the image had enough of it I stop and try to have a look on the next day .the next day even might add something to the work I also try to play with the scripts or the writings that are there on it, I just shuffle the alphabets; sometimes they are absurd or even sometimes a comment. 

 JK.: Have you ever had any compliment or critical remark on your work? 

D.B.: Yes, I met and showed my works to a few artists. And  some  said that the works were quite women centric, or it should  have some political or racial stand , I can’t just say that how it would turn out next  or to what extent it will go , but yes I am still  working .    

JK.: Which genre of films or book do you prefer? 

D.B.: I like to watch all kinds of films and same is with books. Books with lots of experiences in it and also non- fiction types are a fun to read.   

JK.:  Any big bang plans in near future? 

D.B.: Still working…just getting to know few things every day.   

JK.: Do you believe in becoming guiding star after 50 years?

D.B.: I’ll b happy if I live that much, I am 27 now, and then I will be 77. Just awesome!

  JK.: One liner- Your approach towards life.    

 D.B.: Just trying my best to be outstanding

Ultimately self-exploration is very important in presenting your feelings - Madhuri Kathe

An Art Power from Mumbai, artists Madhuri Kathe attempts to take the viewers in the divine world through her creations. Her deep study and understanding of Indian (especially Hindu) scriptures and saints from Maharashtra has a profound impact on her work. The viewers would surely find relief observing her paintings. This interview highlights her artistic inclination.

JK.: . How would you justify/relate your Art to modern day chaos in the world?
MK : I wish my creations provide some relief and calm to the disturbed minds of all the viewers around the world who are equally the victim of chaos around, and indulge them into spiritual/divine experience of the space (Awakash) .

 JK.: You choose lighter shades, is there any particular reason for it? Which mediums do you prefer for your creation?

M.K.: No there is no particular reason for using lighter shades; it is only that, I just love to paint in pastel shades. I prefer mixed media with acrylic on canvas. I also use mesh material to get the desired texture that would project sensitivity.  I basically create to express the feelings rather than for showing the physical or tangible attributes.  I strongly wish to go beyond the conventional boundaries of visualization which is restricted to presentation of cognizable things and can be deciphered easily. So I work on abstract nature of beings and objects. I relate these abstracts to Indian traditional belief in Nirakar/ Amurt (invisible and immortal); just like the air, fragrance of a flower, shade of a tree which can just be felt but never seen in a particular form, yet they exist;  in spite of your acceptance or ignorance of them. These  are intangible stances- Nirakar/ Amurt.

JK.: What is the base  of these unique artworks?
M.K.: I believe in sense of belonging to Art, and doing it poignantly means you involuntarily create it even if it is eternal. So I aim to give an expression to eternity.

JK.:  Do you think academic guidance is necessary to express yourself?
M.K.: I don’t think that academic guidance is necessary for self expression. Yes, it does help in introducing you to already set theories and techniques; but ultimately self-exploration is very important in presenting your feelings.

JK.: Tell us something about Raghogarh School of Painting” and has any other ancient art influenced your creativity.
M.K.:  Raghogarh School of painting was my subject for Doctorate. It is a School of Painting dealing with unknown tradition of miniature paintings and its aesthetic values. I am happy to say that my thesis was the first documentation of that School of Painting.
No, my work is not influenced by any ancient art; it is my own choice of technique and medium. In my creative process eternal urge is a very important aspect, which I get from spiritual masters like Sant Tukaram and Dnyaneshwar Maharaj.  Besides them, I love to read Holy Gita. My entire journey of thought process generates from these divine spirits.

JK.: What is the role of technological development in Art? Do you take the help of modern means in your creative process?
MK- In modern times technology has entered even the art field. I too have modern outlook in my creative process, but I do not depend on technology for my creations.

JK.: Which artists work do you like the most?
M.K.: I like the work of artists like Sohan Quadri,  S.H.Raza, V .S .Gaitonde and Rajendra Dhawan.

JK.: Which other forms of Fine Art do you like? Do you have any hobby that nurtures your passion of painting?

M.K.:  I love Classical music and devotional songs/ hymns in Marathi which are called Abhangas. They gently draw me into the world of spirituality and greatly inspire my work.  So, listening to these hymns are both, a hobby and an inspiration for me.

JK.:  Installation art is trendy, do you wish to follow it and flow
with the current?
M.K.: For me the word trend is like a changing a season and fashion. And even though I like installations, I don’t like to compete in the rat race. I will surely do installation but at the right time when I would personally feel that I can convey some message to the viewers through my installation.

JK.:Any message to the artists pursuing degree and post graduation degree in Painting?
MK.: I would like to tell my young friends pursuing their degree or post graduation courses to keep up the spirit of creation in whatever circumstances they are, because it is a great medium to express ourselves.

JK: Truly artistic spirit!

Real Estate, Gold and Silver…now investment takes U turn on United Art Fair, Delhi

United Art Fair is the most eagerly awaited event of the year where more than 600 artists from India and abroad would exhibit their work; out of them more than hundred artists from Mumbai are participating, whom I address as a ‘creative power of Mumbai’. Every artist’s varying style of painting right on canvas, digital art, installation, sculpture is mind blogging. I enjoyed every bit as a writer exploring their creative work and their rainbow effect on me. 

Sanjeev Sonpimpere

Among the famed Conceptual artists, like Rajendra Kapse’s work is a comment on the political aspects full of fun, satire, probe into human nature and feelings, Sanjeev Sonpimpere, a figurative artists uses the style of fragmentation to portray the environs that he lives in, in which survival instinct masters over the exploitation, chaos and insecurity arising out of socio-political and financial upheaval.  




Artists may work in any form, be it realistic or abstract, Archana Mishra an abstract painter summarizes the ‘isms’ and creativity of every visual creation through her views on Abstract Art when she says, “I believe that the things that influence nature and even us, are almost abstract. The comprehension of wordless expressions is very powerful.” She exploits the fiercest element in nature and disciplines its negativity by applying positive expressions to it. The conceptual artists like, 

Raj More

Raj More captures the variations of Mumbai; its character and so his paintings have socio-political message and events that develop the personality of Mumbai, He brilliantly paints mostly by using knife as a tool and uses colours lavishly to present the intricacies of each element that he portrays in his work; be it train, taxi, crow or simply the ground. ”  

Among the digital artists, Tathi Premchand presents the rotational view of renowned laundry at Mahalakshmi, Mumbai in ‘The Indian Dhobi Ghat’ by working in digital media. The public places which are ignored yet most important are the main themes of his creative digital world. Another upcoming artist Deven Bane works in various digitalized concepts. Other standouts include, Satish Wavare with his works in black ink in canvas, the exercise is disarmingly simple; the contrasting effect of hues add dynamism to his work.  There are lots of illuminating connections to be drawn in these works. Sanjay Sawant specializes in his use of envelope material, silver foils as his medium; Sweety Joshi creates a magical effect by creating three dimensional works out of rice paper layers tied by threads and by literary burning these layers. Though she moulds these layers, yet she denies calling them installations and mounts every work and frames it. 

The upcoming artists like Umakant Tawde strikes on the materialistic and monetary aims of people in riches to rags, by presenting the image of money in the core of a sunflower. Money in place of seeds do convey the idea that every being that breaths needs money for survival. 

Javed Mulani

Javed Mulani, one of the best young masters in oil color develops the concepts revolving around multi dimensional common man’s experience of urban lifestyle.
A thoughtful generation of contemporary artists of Mumbai moves about the cityscapes, peaceful natural settings in their abstract and realistic projections. Though I did not meet many of them personally but going through their blogs and painting profiles on networking sites has opened up a treasury of artists in front of me and I would like to have deeper insight into their creative zeal.

I have earnest regards for all the artists who are in the photograph and all those who missed being the part of this photographic session due to some reasons. I also want to tell the artists whom I must have not mentioned in this personal review, that your work is equally impressive as others who are mentioned here. May all of yours zest and zeal always be high.

Thank you

 - Pankaja JK

Contemporary artist Rajendra Kapse,Sanjeev Sonpimpre,Tathi Premchand and Raj More, well know abstract painter Satish Wawre,Sanjay Sawant, Shila Joglekar,  Archana Mishra, Para Patil, Sweety Joshi, Madhuri Kate,New upcoming Parul Patni, Lalit Patil, Sandeep More, Umakant Tawde, Javed Mulani, Daljeet Sehra, Manish Waghdhare, Manjeet Makad....more in united art fair....

coming soon

 Dear Artist if you are in any corner of Maharashtra and you fell that Proud of  artist Please send you six work and CV for upcoming Annual Art Blogazine on pankajajk@gmail.com, if you work strike me something different from rat race, I will send you feedback six working day...



artist plz comment below, if you have any Questions ? interest  

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Five All time - Popular Posts of Artist

will be Publish in Annual Art blogazine-2012

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I believe that the things that influence nature and even ourselves are almost abstract - Archana Mishra

Archana Mishra, is a scholarly Abstract painter with sensitive mind and heart; she presently lives and works in Mumbai. Though she lives in Urban environment, her thoughts always flow and swirl in the elements of nature. Her subject of painting is based on the undisclosed elements of nature that can be both, shocking and blissfully surprising. The following excerpt is a peep into Archana Mishra’s nature, as told to Pankaja JK.

72 x 72 inches , Mix Media on Canvas, Volcano Cup

JK. : What is an Abstract art for you?

A.M.: I believe that the things that influence nature and even ourselves are almost abstract. The comprehension of wordless expressions is very powerful. Like, when wind blows fiercely it is destructive and we call it a tornado or hurricane, but when it blows leisurely, it proves to be a life-giver. Abstract is beyond comprehension of ordinary being as it is not an imitation of real objects, but it surely satisfies the soul, the spiritual thirst .We cannot express the fragrance of flowers, emotions, the calmness of stars, coolness of waterfall or fury of volcano in any form, because those are abstracts and so ultimately when objects are separated from their abstract character then they ultimately lose their existence. Even if the figurative artist removes expressions from the figures, the paintings would seem lifeless. The gist of all this is that, feelings have no form, they are abstract. So, without abstract no realistic form is complete, but abstract is complete in itself. In Abstract painting by coloring and giving expression to our own abstract feelings, we provide perfection to painting. 

JK.: In these exhibits most of your images revolve around ‘volcano’, which if fiery, full of vigor and it erupts from the earth, why did you choose such an element from nature?

S H Raza and Arachna Mistra at  krisna art gallery solo show Delhi -2003

A.M.: JK, we all have fire within us, be it of love, sadness, joy, competition or simply the desire to achieve everything. When this very fire becomes ghastly, then it burst out as volcano. In my opinion, volcano has to erupt one day or the other. So instead of vigorous outburst if we let it escape out at our own will, then we can avoid many regrets and sadness or else who know when, where and in which circumstance it might burst and be the reason of destruction. We all know that earth is able to hold and tolerate volcano’s fury only for a particular time. I have observed that, earth, water, sea, snow ranges or any other element of nature has never been able to tolerate volcano. And we are just rational human beings! The images in my creations are the images of fire within me, to which I eagerly give an expression through my creations, so that I become calm and composed within.

JK.:     Tell us about your technique of work.

A.M.: I do not rely on a particular medium for my work. I have won awards for my paintings on prints, but my favorite medium is Acrylic on Canvas. I work even in mixed media if my creations demand it. My aim is to exhibit a finished creation and therefore I use any medium that suits my creation.  

JK: How many days does it take to complete one art work?

A.M.:  The time taken depends on the theme and the intricacy in it.

J.K.: Which other aspects of nature are dear to you, to express it in Abstract form?

(72x72 inches , Acrylic on canvas , VORTEX OF VOLCANO)

A.M.: Every form of nature is dear to me. Since childhood I would meticulously observe every aspect of nature, its every form, beauty and innocence etc; this is the reason why I try to relate human character with elements in nature. Till date I have painted many aspects of nature. But there are many more undisclosed subjects in nature that I still wish to paint.  

JK.: Do you have any inspirations?

A.M.: Nature is the biggest inspiration.. Every moment it introduces me to novel forms. There is no greater school or teacher than Nature. The more I learn from it, it seems to be less.  

JK.: Tell us about your progress as a painter.

 A.M.: I have done my P.hD in painting. I started my painting career at my home in Bhopal, in the year 1997. In that year I had my first solo show. In 1999 I achieved a National level award SCZCC, from Nagpur. In these 15 years I have achieved many awards and prizes, and I have been doing solo and group shows till now. I wish to attract the art lovers towards my paintings by astonishing creations; and I will continue to astonish the world with my creations throughout my life time.

J.K.: Does the competition affect you?

A.M.: No, I am never affected by competitors. But frankly speaking, due to competition many artists are trying their hands at new experiments and trying to give a unique identity to their works, in a way this is good. This is the reason why Art has progressed from being on canvas to other mediums. But I confidently feel that my creations are totally different from other artists, my world of creation is different. My competition is with myself and no other artist.

JK.: In this age of globalization, which means of exhibiting your art do you prefer? Social networking sites or Galleries?

A.M.: This era is good for artist and art lovers too. The advanced modes of exhibition like web. blogs, online sites facilitate us to display and share our paintings all over the globe and know the reaction of people about our works. Right from layman to art lover is free to express the views. Networking is like a revolution for our field. 

 80 x 80 inches, Acrylic on canvas, volcano waterfall

JK.: Do you think participating in Art Fair is a wise decision?

A.M.: I think every artist should participate in Art Fair. It’s a platform where budding and eminent artists display their exhibits under one roof and the exhibition is open to all and not just for a particular class or category. It also introduces artists to the changes that are taking place in the field of Art. 

JK.:  Painting is a passion or profession for you?

A.M.: Painting is first a passion for me then a profession. 

JK.: What are your other hobbies?

A.M.: I like to enjoy music and do photography.

JK.:   What are your future plans?

A.M.: In the next show I will do installation and I am also working to present my creations with a very unique perspective. Along with canvas, other mediums will be the part of my forthcoming creations. 

JK: Thank you for sharing your thoughts with us and looking forward for your creations in other mediums too.

A.M.: My pleasure!

It was a good experience speaking to this nature lover; In the interview she said that she tries to relate human beings to nature and I think that proves true in her own case. Cheerful and chirpy as a bird, flowing enthusiasm like river and filled with the burning desire to create more and more and something unique….just like her theme Tornado! Her hobbies too reflect romanticism and nature in its physical state is nothing but one of the real life expression abstract Romanticism. I guess there will be more surprises of nature that she would unveil to us in her next creations.

Frankly, I have no inspiration from painter community. I do not follow any of them.

United Fair provided a very good opportunity for me to meet and speak to artist from various genres. Moreover, it was a delight to meet artist Raj More, who is a visual story-teller of my own city Mumbai.

Hailing from a small town, Raj is settled here and now became a voice of Mumbai. 

I spoke to him about his works. His confidence, faith and meticulous observation of the city is astonishing astounding. For him it is not only a commercial city with heritage buildings, vast Arabian sea and a city of historical importance; but it is a city which nurtures glamour and glitz along with poverty and dirt; super cool attitude with fast pace of daily life which can be clearly observed on its always energetic streets. He has a unique style of painting the city.  It is not just a ‘cityscape’; capturing the greatness of the city through presence of man- made structures; but it is a personified city with its distinctive traits, represented with people and their environment in this city. Following views of Raj More makes his approach clear and also presents Mumbai’s new dimension to us:

JK: : Hi Raj, There are many painter working on theme of Mumbai city; what appeals you to work on it?

R.M:  I came to Mumbai around 15 years back. I saw many artists painting this city but it seemed all the same, as they painted main places of attraction like Gateway of India, monuments and city roads with varied people trodding on it. It was a physical presentation of Mumbai. I did not want to involve in such art. It is a well known fact that Mumbai has a lot of socio-political drama and it is the commercial city. It was necessary to tell the story of the development of this city; the character that it has imbibed, the people- their struggle and status that adorns the city with riches and rags at the same time; displaying the duality. Maharashtra became independent after 1960 movement. At that time it was basically Kamgaranchi Mumbai (Worker’s Mumbai- the worker were basically employees of Mills which are now locked up forever) who lost their jobs after mills were closed down. The new means of survival, independent identity and self dependence had to be explored, which gradually made it so powerful as to be commercial city. From then onwards folks from all walks of life and other states come here to settle their lives as well. So I reflect their aspirations, dreams and how they survive and it is the core of Mumbai which I paint. I reflect upon the environment in which I live. There are different levels of societies surrounding me,  I develop its character through people and always have a message in every painting. Till now I have had three exhibitions on this concept; first ‘Salam Bombay’ was about people’s struggles and establishments.  Second exhibition was based on logistics named ‘Lifeline 786’. The public transport is an inseparable part of commoners and the rush of transport network. Third exhibition was ‘Metrospection’ which dealt with Bollywood, rehabilitation, Mumbai as a dream city, Dharavi, elite areas and so on.  The intricate and subtle veins of classes and masses and its intertwine, that put life in Mumbai is appealing me. 

JK: Did you ever have apprehension of comparison?

R.M: No, my paintings have never been compared, because they are completely different from others. They are figurative and every painting has a message. They have a language and having expression or language in painting is very important for mute communication between observer and the painting. As I have stated earlier, my paintings are not ‘cityscapes’ but Mumbai’s society- impoverished and elites as well as; you can say they are like two sides of the same coin. 

JK: Agreed, but what about competition? You cannot deny it.

R.M.: I have competition; but with self. I cannot paint if I think of competing with other artists. My contemporaries like Jitesh Kallat, Sudhir Patwardhan and others work on the same theme but I never think of competition with them, I have a warm friendly attitude towards them. I appreciate creation and condemn competition. Competition in Art is based on Art Market. If you deliberate on this point, you will find that after recession of 2008, many promising and upcoming artists stopped working, because they feared getting less or no price for their creation. Famed artists had few rays of hope. But I personally feel that painting is not related to market ups and downs. I feel artist should continue painting. And stop judging the work in comparison with others or the market status; Art should have its own space. So, no completion for me, I just keep on creating. 

JK:  Have you modified your work over the years?

R.M.: There has been considerable difference between the initial stages and now. I did my first show in 1999. It was based on rural setting, important places in native place. Even though I did it, I was not completely satisfied with it because it was just a landscape. I was praised for my landscape works but I was resolute not to work on landscape for longer period. So I stopped and then environment in which I stayed in Mumbai, grabbed my attention and I felt like telling its story and since then started personifying it.  After that exhibition till date I am working on Mumbai theme. I capture the present times and environment around me; it’s the present time and it is important to present breathing or live city. 

JK: Which points do you consider important to develop your concept?

R.M.: For me, painting is like a film. I give a 3-dimensional effect to every image. Composition is also very important and powerful in framing the work; it forms the base of good painting. I learnt this in photography study. It makes my painting accurate. There is a movement – if you see the bull, the crow, local train, rickshaw or truck in  my paintings they appear to be moving.    

JK: What boosts your confidence?

R.M: That, I should like my own painting as a viewer. Involvement in it and development of the concept and completing it as I contemplated is very important for me. If it is done, I feel self confident and I work with more zest and zeal. Also people’s appreciation boosts my confidence. 

J.K.: How is your work process?

R.M.: Intensity to put my ideas makes me go. It is a continuous process. I used acrylic colors which dry instantly, so I have to be quick, perfect in applying strokes and dapples. Acrylic perfectly matches my psyche. When I work, it is a one man army and it is essential for me to complete the painting in one sitting.

J.K.: Have you ever had Vada pav (Indian burger); utterly Mumbai’s snack for public and snack cum food for poor?

R.M: Vada pav and Misal! No soul in Mumbai or just a visitor would miss these tasty, cheap and fulfilling snacks. Vada pav is one of the identities of Mumbai city; the city where no one remains hungry. And the specialty is that it tastes good only when eaten at roadside stalls. Now-a-days posh malls are coming up and they have food joints where Vada is sold in attractive packing at higher rate but it does not match the taste of roadside preparation. This snack adds to the beauty of Mumbai.

JK: Which personalities have inspired you?

R M: Frankly, I have no inspiration from painter community. I do not follow any of them. I have learnt from my own experiences and work. I never felt the need getting inspiration from others. Yes I am impressed by Van Gogh, Picasso, but they are not inspirations for me. IN India Hussain was a role model for me and let me clear it that I admire Hussain for his initiative to popularize Art among the people and also to make Indian Art known on the international platform. He had his energy and truthfulness in his actions.

I am inspired by film makers. I like seriousness and concentration that goes into film making. My favourites include Kurosawa, Guru Dutt, Mani Ratnam and even the upcoming Directors who genuinely make film. I try to give the effect of movement. My paintings are films. I like cinema with message be it any genre, but I don’t like humorous films without any useful content.

JK: Any new film you watched recently?

RM: Recently I watched ‘Stanley ka Dabba’ which is a small budget film, the camera was not high-end camera, and still the effect is good. You would find lot of Bollywood impact on my paintings. 

How many days do you work on one painting?

It takes almost one month for one painting. I start right from visiting the location, observation, research, sometimes capturing the scenes in camera, then I decide upon the composition and lastly take up the tools (I usually work using knife) and start painting with acrylic continuously till it is completed.     

  

JK: What are your future plans?

I intend to do installations and films.

JK: That Great! Wish you all the best for all your future plans and this show.

R.M: Thank you. 

Raj’s energy level is like Mumbai city’s energy level; non-stop always high. As he was leaving I could see that he was thinking of a mission that was on his schedule list and he was so restless that he did not wait for lift and rushed down the stairs….Raj and Mumbai always on their toes….

 Note : As told to Pankaja JK, Freelancer art writer, Critic some time, mostly she write on blog only, bez we  want save trees...