Tagged cube of Metro- by Pankaja JK

(Young artist Umakant Tawde)

Umakant Tawde moved to Mumbai city for professional development, now he lives and works in Mumbai. He commutes between South Mumbai (which is a commercial centre in Mumbai with many corporate offices located there and also have elite societies along with middle-class and poor ones) and western suburbs. This gives him the opportunity to observe the busy life of Mumbai, meet people of varied personalities and face the incidents and events. These experiences are captured I his latest series of paintings and thoroughly deals with magic spell of Mumbai created by mix culture, harmony between different class, caste and level of people. Its patience peace, love, care, unity and resilience in any and every circumstance; will to survive and face the struggle for living boldly. The series is the visual presentation of his personal experiences of Mumbai. His technique of oils on canvas symbolizes the amalgamation between contemporary city dwelling and traditional structure. One of his paintings, which has a folk woman artist with black and white images of shanties in background, is a deeper insight into the worse condition of living adopted by a villager due to dislocation. 

His earlier works reflected spirituality and serenity, as he painted images of Lord Buddha. I think his transition from that kind of work to painting trials and turbulences of urban life is a deliberate attempt to show how a common man would deal patiently face the trials of life without living the world in search of peace.  He shows how people adopt and practice meditation and concentration even in hustle-bustle of busy life. In the ‘Balancing Act’, a woman walking on the rope tied high with the help of bamboo balances herself smartly with a wrinkle of tension on her face. Her calmness and serenity is the example of practical application of concentration and she does this to earn livelihood; to meet her survival need. Umakant reflects by using darker hues on lighter background highlighting every gesture of the woman. 

(working on new series by Umakant Tawde)

 ‘Optimism’ is omnipresent throughout the series, in every image of toiling person. This attitude is found in people from lower strata of professional order, with no great achievements and adventures associated with them and dark future.  But their spirit of patience, efforts to be self dependent and hard working zeal is no less compared to great achievers. He shows that no matter what social status or background people come from, Mumbai city is always ready to welcome and shelter their hopes and dreams. 

Hunger is the base of every action. It makes one dance to its tune and every decision is aimed at fulfilling it. So there is desperate search for food or means of earning to buy food leading to dislocation due to poverty, unemployment and blank future l; of living life even in most awful condition and great struggle. Hunger is clearly indicated in painting of tiffinbox (painting is itself named as ‘’Hunger’) which represents food and the condition of people in search of food can be contemplated through every image in the series. 

Mumbai has blend of cultures and interestingly some of the fast vanishing folk art is still nurtured and admired in this city. Like many others folk artist from rural area migrate here to  obtain opportunity to earn; if not through modern means, then at least by displaying their talent and art and it is very interesting that modern Mumbai cherishes these talents in right spirit.  Paintings like ‘Tradition v/s trade-intension’ and ‘Balancing Act’, shows how the folk art of singing and sports is admired and still find its existence in Mumbai. In ‘Balancing Act’, a lady walking on a rope tide high with the help of bamboos.  This is a profession of people belonging to ‘Acrobat’ community. A poor flute seller boy, who plays a mesmerizing tune and the flute seller’s tune, has magical effect on people and it provides happiness to tired and restless busy souls of Mumbai. So it is not necessary to buy spare time and huge amount for pleasure and entertainment and buy concert tickets; if one wished, one tends to find it on the roads of Mumbai. These talented souls have to struggle hard to exist, but their struggle becomes bearable in Mumbai city where we do have people giving them attention. This caring nature is a virtuous side of Mumbai which is one aspect captured in this series; inspires him to paint.

(working on new series by Umakant Tawde)

Artist meticulously scans ‘Struggle’ and observes that, not only human beings, but even animals cannot escape Struggle. Even they have to work hard for bread and butter. Over all, life is all about facing the problems, risks and poverty with bravery and patience.  According to Umakant life has become ‘Circus’ where everyone has to participate in risk taking act for food, cloth and shelter. The simple images in artworks present the larger idea. I personally infer these artworks with animal images as symbolic and guess that here artist intends to compare human life to that of animals. Human beings slog like animals, life is like a circus full of risk and apprehension. One has to be very confident in every difficult circumstance to face it boldly. This is the result of poverty, and lack of future in villages that people are pulled towards city.-

 Pankaja JK

ARTIST SUGO - Subhash Gondhale KNYATAVYA (Easy to understand) by Pankaja JK

 ARTIST SUGO - Subhash Gondhale ..recent interview by JK

KNYATAVYA (Easy to understand)

I had the opportunity to meet Calligraphy artist Subhash Gondhale (SUGO) before exhibition of his latest series called Knyatavya (easy to understand). This exhibition includes three series’ viz:  Akshara, Mantra and Evolution. The subject of paintings is close to Indian (Hindu) culture and tradition.. Following is the excerpt of the interview that introduces us to SUGO’s insight into these creations:  

Q:  How do you define calligraphy; as an art or skill?

S.G.: Calligraphy is an Art, it is a creative process and require complete concentration. The lines and strokes in letters cannot be corrected to create desired effect. Corrections would mean catch-22 situation of mind, and creation in one stroke means affirmation of idea and concept. An elegant movement of brush on paper or canvas indicates a through thought, of being calm and spontaneous expressing confidence and deep understanding of life; it is a meditative process where you have to train your mind to be limbo. 

Q: Why did you decide working o Mantra or Motifs? Do you intend to introduce world to Hinduism?

S.G: These Motifs scrupulously represent India. India has rich cultural heritage and motifs are a part of Hinduism. The Motifs stated in Hindu scriptures have therapeutic value. I know this from my life long experience, as I hail from a Brahmin family where chanting mantra is a ritual followed every day. The main reason of chanting these Mantras are that, they lead to peace of mind, develop concentration and takes oneself away from vice motives, thus cleansing the soul and developing a sound mind that leads to a sound body. I want to disclose this Indian treasure to the world; make people all over the world know the greatness of Hinduism and adopt it for self well being. 

Q: So is the series called ‘Evolution’ related to Indian (Hindu) belief?

S.G.: Yes, because to know why one exists, it is necessary to understand life on wider scale; universal level and to know about its creator; Lord Brahma (Hindus staunchly believe Brahma to be the creator of Universe which he created from miniscule particle). I have tried to represent Brahma’s creation symbolically by using letters which are the minute elements of large group larger forms, ‘word’ and ‘sentences’.  Thus they form language; a Universe. So, I present the Hindu traditional theory of evolution through letters.  

  Q: Why did you create ‘Akshara’ series?

S.G.: Akshara depicts Devnagari script. I am fascinated by this script.. Each shape is very rhythmic and has graceful twists and turns’ that personify them. Here I would like to briefly explain its universal importance in Indian context. When these letters are viewed as motifs, they become mystical sounds and visuals, of Hindu origin which are sacred and important (Sanskrit language), in the language which is considered to be the language of Hindu God.

Q: Do you think there is an underlying link between calligraphy developed in various cultures and places? Does it have a particular indication?

S.G: I think there is a common link in Calligraphy found all over the world. Basically it is about writing ‘letters of particular language’ and when you speak of language, naturally it is influenced by culture and tradition, so the beauty and goodness of a particular culture gets reflected. This is a truth about every region’s Calligraphy. This indicates that Calligraphy proposes to deviate oneself from destructive thoughts and actions, freedom of soul from worldly matter and adoption of love and peace by awakening the mind. 

Q: Tell us about your process of creation.

S.G.: I believe in simplicity. Creative process becomes simple when you have definite image in your mind and completely focus on presenting it visually.  Focus makes action spontaneous and spontaneity is but simplicity for me. Hues represent mirage and forms become abstract. My tools are controlled by my mental state in that particular moment, so the final output is not very similar to original image. Original concept of art work remains unchanged but image turns ephemeral. As reflection goes on becoming intense, it moves from form to formless; forms merge into background and turns into abstraction.   

Q: How was your experience of growing as an artist?

S.G.: This is a good question, because I would genuinely like to mention about great men who have helped me in my creativity process. Right from my learning years in Sir.J. J. School of Art I am guided by my gurus in the field of painting. The first experience of judgment of my creation by my teacher in Sir J. J. School was a turning point. Here Calligraphy was one of the subjects in the curriculum and I scored the least in my first Calligraphy test paper and my professor pestered me for it. That pestering helped me, inspired me to do the best in future papers and to my teacher’s surprise I scored the highest in latter exams. And now I have reached the stage where I can spontaneously express myself on canvas. 

Q: Which artists have influenced your work?

S.G: I am lucky to meet, speak and seek admiration from great men from this field. Earlier, I used to do realistic painting and at that time Madhav Satwalekar, N S Bandre, Sir Dhurandher had attended my exhibition and personally complimented me. Prabhakar Kolte Sir was my teacher in Sir J. J. School of Art so I have spent good part of my academic period under his guidance and seen him improvising the skill and talents of students by his lectures and practically involvement in our work. Even after School days I have good relation with Sir on personal level. I consider Mario Miranda as my mentor, as he provided me the opportunity to start my career in Advertising field by recommending my name and also appreciated my works and bought three of my paintings. I owe my self confidence to excel in my profession as well as passion to Mario Miranda. Then, I also had chance to meet and speak to M.F.Hussain, M S Joshi, Raiba, Dhond Sir and also have face-to –face conversation with K.H.Ara. I was completely awed by his personality. He was very simply dressed, spoke gently and was kind enough to speak to me, even though we had met first time; he had no airs about his fame. I also had brush with Sankar Palsikar, M S Joshi.  In fact, I seen demo of Palshikar’s painting…a great…great experience indeed! Now, it is a great pleasure to meet great men about whom we have studied, whose books we have read. Their personalities are as great as their works.

Q: What is your passion other than painting?

S.G.I love to read books and write about great men and create poems.

Q: Which books do you prefer? Fiction or Non- fiction?

S.G: I like to read auto-biographies and books on art. I do not like fantasy and imaginary stories as in fiction. The philosophies of great men inspire me to tread on their foot prints on the way to success; in painting and real life. I have read Dnyaneshwari and philosophies by Zen masters, Osho, Krishnamurthy and other influential personalities.  I read their philosophies and adopt it. According to Zen Art, Brush strokes speaks mind. So I practice meditation, concentration and peace within myself so that it naturally and spontaneously gets projected on canvas and paper. I gain knowledge about universe and purpose of existence of every micro and macro life on earth, making the nature and this whole universe closer to me. Through books I could know and study Picasso, Van-Gogh, Burnett, Michelangelo and Leonardo da Vinci and now I am one of their biggest fans.  

Q: How is your association with artists from painting and other fields of fine art?

S.G.: It is a great pleasure to be in a company of intellectual giants from various field of art. Creativity is ever developing process. These men and their insights, manner and approach towards life and art inspire me. I try to incorporate every form of art in my creations. Honestly, I extract positive energy of every field to merge it in my creation.

Q:  With advent of technology, computer, software developing fonts, even the calligraphic ones; ‘writing’ is fast obscuring’, then what is its future?

S.G.: It is not possible to deny the existence of technology in any field; even in art. Advanced technology has undoubtedly contributed in saving time and manual hard work. Everything has become handy and easily accessible, even ‘writing’, as it is replaced by operating keyboard. Yes, calligraphic fonts are available and due to keyboards, writing is diminishing. It is easy to make templates using this benefit of technology. But artistically hand- written words have their beauty and powerful impact. And Writing art- Calligraphy is not just writing artistically, but it is a matter of profound dedication, concentration and purity of thoughts that go into creation of each and every letter. The fine and bold strokes can be drawn only by perseverance and can change for each artwork, giving every art work a personal touch, unlike ‘fonts’ which are unalterable and have no personal touch and feelings. No other medium of calligraphic expression will surpass handwritten medium. So, written calligraphy will always have secured place in Art, despite of technological progress.

Q: Painting, is your passion or profession?

S.G.: Painting is purely a passion for me. I am into the field of Advertising and earn enough for my family and to nurture my passion of painting without stress. I am lucky that I can afford to buy canvas and other tools for paintings without worry. For me painting is a way to escape from worldly worries and relax. It is a way to meditation. I am filled with vibrant energy, be poised, calm and stable in my thoughts and actions after I paint.  

JK: Thank you for the interview.

S.G.: My pleasure. 

Epitome of Abstraction from Mumbai Artists at United Art Fair- Pankaja JK

Going ... United Art Fair 27-30 September | Pragati Maidan | New Delhi


Art has come a long way from being just a matter of passion and entered a commercial avenue with global exposure. United Art Fair includes established and upcoming talents who paint, sculpt and create installations. There are nearly more than 350 artists selected from all over the world to showcase their work.

Annurag Sharma, Director of UAF is successful in providing opportunity to discover the value and diversity of art. Annurag Sharma promotes a wonderful interaction between artists and patrons providing superb experience to both, the art-lover and creator.

Johny M. L. one of the rebel fighters for art right, also a curator in this Art Fair has chosen exclusive works by various artists. In this article, I, (Pankaja JK), have abstracted work of four outstanding visual artist from Mumbai, viz: Tathi Premchand, Sanjay Sawant, Sweety Joshi and Satish Wavare, who work in different mediums other than in typical traditional style of using colors on canvas.

It always interests me to watch work in group show rather than individual shows, so even this Fair is going to be a fascinating one. I had the opportunity to visit some artist in their studios and see the process of their creation and how the final outcome takes place through their creative process. Following paragraphs are addressed to their works with illumination on them in their own words.

Sweety Joshi

United : size 10x7 Mix media on rice paper

First of all I would mention about Sweety Joshi as a painter and an individual. She is a soft spoken artist, with composed personality and her work somewhere projects her personality. Her uniqueness lies in the use of rice paper for every creation, subtle use of colors and most importantly ‘burning and the kind of impression created by the burnt effect. She creates 3- dimensional works but refuses to call them installations and frames them just like any other painting. The paintings are all eye catching even if the process of making them is similar. So out of curiosity I asked her a few question on the deliberate fixations that she has in her works and she justified them as follows:

Q: Tell me about your passion for painting and were you exposed to artistic environment inspiring your painter’s instinct?

S.J: I do not have any painting background at my home. Though I have relatives in other creative fields such as writing and drama, but I always looked at my surrounding with a painter’s view. Whatever reality I saw around absorbed as a visual in my mind and heart. Every subtle thing attract my attention. ---- I like to unfold the layers of reality and visualize it in profile angle. The visuals are usually lyrical in nature and ultimately they develop as rhythmic and construction compositions as I go on creating my works.

Q:  You use layers of rice papers and bond them with threads, why is it so?

S.J: I love to work using rice paper because of its transparency. The delicacy of paper makes it as my visualization to burn it and even the burnt edges and the carbon that spreads on the sheet makes it look attractive. I do not glue the paper but stitch them because for me it seems like a lifeline, a blood vessel, a vein that flows through body, just like that threads are lifelines of my painting helping them breathe, live and develop. There are layer of rice paper bonded together. Each layer of rice paper is full of energy, it nurtures my visualization and I am able to give it a 3-D effect too.

Q: Many people feel ‘burning’ is a negative aspect. What is the significance of ‘burning’ in your paintings?

S.J: As a painter my most coveted color is ‘black’. All my paintings have black color in them. Black represents energy. I always wanted ‘my very own black’ and not the ready- made one, the black shades which would project light and shadow play just like deliberate transition of a day from light to darkness and vice-a-versa, transition from materialistic being to meditative soul and as proportionate body structure engulf the transparent, sensitive soul within. Initially I tried using various things like bottled colors, pencil, charcoal etc, but they failed to give me the desired black, smudged on rolling and folding the final paintings or they lacked durability. Then I started burning the paper and created ‘my black’ which magically stretches itself in such a way that it seemed to flow as per my wish. The point of finish of black and start of white becomes subtle and illusory. This could only be done by burning. Yes, many people have pointed out that burning is a negative act and suggested me to stop using it in my creations. But for me it is completely positive process. Don’t we burn candles and lamps in front of God? Throughout the process of living we go through various experiences which characterize us and burning in my painting also characterizes my painting daubing it with light and dark shades. Also in 3-D works, cracks and holes are formed on the paper, light passes through them and a shade falls on the background, which gives dept to the painting. It is like enthusiastic exploration of mind, experiences and soul.

Q: Do you want to try your hands at new medium?

S.J: There is no plan as such at present, because I am fully satisfied working in this medium and feel I have lot more to explore and create.

JK: All the best for all your ongoing and future projects.

S.J: Thank you very much.

Sanjay Sawant

United : size 22x28" Mix media on paper

Next artist was Sanjay Sawant, a cheerful, expressive personality. Being from J.J. School Of Art, highly accomplished in his art, receiver of many prestigious  awards during college and professional days, he later on took up the profession of a lecturer in Art Colleges and taught in various states of Maharashtra. He is also a seasoned writer. He resigned as a lecturer at a very young age and became an independent Abstract painter to nurture his love for painting. During his process he attended many workshops all around the world, which exposed him to diverse environment, culture and traditions which he finely incorporated in his creations. He has an unusual style of painting. The chief materials that he works with are the gold and silver foils and light green shaded cotton paper used to produce envelopes. He pastes this on large, medium and small canvasses with subtle dash of color between the spaces. He is very clear about the inspirations for his work, use of material and his identification as an artist.

Q: Did your academics and profession as a lecturer have any contribution to your creation?

S.S: I owe a lot to Sir J. J. School of Art. No artists should deny the role of Art School that he or she attends before establishing one self. I proudly say that I had an expertise in portrait painting. I received lot of accolades for it too. Portraiture involved capturing the features of human face, but I realized that a face is the exposure of thoughts and mindset, the environment that he lives in and experiences as an individual. I was also fascinated by inanimate things around and I felt like drawing their portraits. I think that is where my experimentation began. So I painted them in portrait form. Today my horizons of capturing inanimate objects have widened and now I portray space. Nature engulfs us; it is our vision to link our spirit with space. I am able to fuse my spirit with nature and be one with it and so I can do painting. Nature does not remain a space for me but it becomes ‘me, an undetectable part of me’. My experience of teaching taught me to enter into the core of objects.

Q: What instigated you to use golden and silver  foils and envelope in your painting?

S.S: As I said, I started experimenting in my art; I found the foil in cigarette packets appealing to me with their fragile texture and shine. As I always admire flowing water in sea and rivers and calm water in lakes, I could feel the shine of water in this silver foil. I especially like to be near vast water bodies during night time, when there is reflection of sky and heavenly bodies in the water, the hazed sight of clear water and the rhythm produced due to waves and water that rush towards bank and slowly recedes. I could produce these effects using aluminum foil and faint use of colors in spaces between the spaces after pasting the pieces foils on canvas, Golden foils gives me energy of sun, Envelope feel like wrinkled, matured skin with traces of life’s experiences, it is like a skin which is very delicate and soft to touch, I feel envelope paper is a container of love. So I use it in paintings to make my painting appear animated rather than mere characterless painting. 

 Q: What inspires you to paint?

S. S: Space and spirit are my real inspirations. Every space of matter becomes a womb which resurrects me with every creation. Visuals are external bodies and I impregnate soul in it. Thus, it becomes a divine process and I am myself mystified with this the phenomenon breathing new life into my visuals. I take inspiration from my immediate environment. The images that I see get abstracted in my thoughts because I do not want to present replicas of what I see but their effects and appeals,  whether it is a landscape, incident or situation but the their effects and appeals. So my creativity is not static and repetitive but dynamic and varied.

Q: How would you justify your paintings?

S.S: One can relate oneself with my painting so I am happy with it. My medium of creation is my identity which would remain intact in any form that I would opt to create. I enjoy creative process and search of painting is my main goal, so ups and downs of commercial do not shatter the artist in me. I have my own style. There are serious art lovers who have faith in me and they love and support my art.

JK: Thank you for sharing your creative journey with us.

S. S: It’s my pleasure!

Satish Wavare

United : size 10x19 Mix media on wooden comb

I had a short conversation with Satish Wavare, an artist who balances his act as a passionate painter who is clear about take on his individual art.  He is a graduate in drawing and painting from Sir, J. J. School of Art, Mumbai and specialized in portrait painting during his academic years. His evolutions in painting lead him towards choosing abstract over portrait painting and choosing a medium of wood carved combs. Unusual and unheard! But, he is successful in his work and has been a part of many shows and exhibitions all over India and even abroad. He works in Mumbai. Following excerpt is my inquisitive probe into his chosen medium for painting:

Q: Why did you choose wooden comb as your base for painting?
 S.W.: I was always fascinated by the shape of comb and it was usual found in our house right from childhood. My father was a priest and very often as the ritual a few things that a married woman should posses and obligated to wear is offered to Goddess. One of the things that were offered to Goddess by my father was this mini sized wooden comb. I liked it very much. In later stages of my development as an artist I decided to paint on small and medium sized wooden combs and it was bliss to find the effect very attractive and then I continued using it as a medium. The small even spaces in it and broad strip to hold it works as a texture and there is a kind of movement one can feel while observing the painting on it.  Now I am so obsessed with it that I personally feel that my painting process is complete only when I become one with form, color, line, wood, paper, water, oil, pencil, ink. 

Q: You always mount your creation on black background, any particular reason behind it?

S.W.:  ‘Black’ is my favorite color; it is vibrant and very vigorous. There is no particular reason but I feel black background gives a finishing touch to my paintings. 

Q: Does your profession have impact on your passion? 

S.W: I am very close to nature and natural environment had always been and will always remain my inspiration. The stretched ocean water, the waves currents, bio –treasure, shells and conches all become my visuals, which gets refined into abstract forms and ultimately become my painting. It is a gradual process of creation. The varied colors at sea becomes a challenge, because it is quiet tricky to make colors that match exactly with that found in nature. I also meet people with varied characters they also add essence to my creation.

Q: Do you plan to experiment with different materials like fiber, plastic combs etc.

S.W: There is no plan to change the material of comb in near future. Working on wooden comb has become my identity and I am in no hurry to wipe out my identity. According to me exercising experimentation in same medium, helps an artist to add more depth to that kind of work and he achieves more maturity in it. 

Q: So, how would you explain your relation with art?

S.W.: When I paint, my painting is personified, I have dialogue with it.  There is a depth in our bonding and the imprints that my paintings leave on my being is my vehicle for the journey from the known to the unknown. There is a give and take kind of relation, where I try to give it a face though abstracted form, in exchange it gives me immense pleasure, satisfaction and makes me peaceful.

Q: What about trend of adopting new technology or raising installations? Don’t you feel like changing your medium?

S. W: I do not believe in aping. Just because everyone is adopting installation, I would not do the same, nor would I adopt different medium to make an impression of being modern progressive artists. I would do these things only when they would really appeal to my artistic senses. For example, I would only involve in installation art, if something around me stimulates me to do so and if I find that the installation speaks more of its relation to world around and not just stand as a structure without conception. 

JK: So that explains your spiritual approach towards art.

S.W.: Yes and that lies in the core of my creativity, total devotion and dedication to art; very important for me and my creativity…

Tathi Premchand

The Indian Dhobi Ghat- 1
Digital artworks details Epson inkjet on vinyl with mat pasted on sun-board. Size 45x33"

Finally, I discussed with Tathi Premchand on his Digital Art. He is chatty, cheerful and always brimming with eagerness to know and tell about anything novel that he comes across. His enthusiasm to probe and explore innovative techniques can be felt through his talks and on his social networking communication. His belief in progressive and innovative art can be seen throughout his journey of growing as a painter. Some of his latest works are the perfect examples of his penchant for technological advancement in field of painting art. He now works on Digital Art. His work seems quiet rebellious and society concerned. His sensitivity towards society makes his work more appreciable and considerate. I guess he finds romanticism in simple joys and sorrows of people. To know more about Tathi’s work I asked him a few questions to which he readily answered with firm determination. 

Q: What appealed you to plunge into digital art?

TP: Basically I am always attracted towards innovation. Technology is a perfect area of introducing new methods of working. Computers and software have advantage over manual work. I choose to go Digital as it gives me the desired effect of sorting and placing the images. I am always takes one single photographic image clicked inside the local train. Through one of the graphics software, he creates three more images of the same photograph but in three reverse directions – one just 180 degrees upside down, one 90 degree turn to left and the third one is 180 degree reverse of the last one. Most of my artwork is the four dimension extension of a digital photography. Some viewer feel, its look like Mandala, river image, kaleidoscope, and this art form is very old art in India; you can see things in Buddhism  and Hindu’s god temple in form of mural art and God painting. Similar in my digital artworks are bright colors are omnipresent along with pure white color on clothesline, well arranged to dry the clothes. The gushing water, slogging washer men, heap of dirty and clean clothes together represent a mini image of a society that we live in.

This unusual place of muse speaks volumes about society itself right from ancient times to modern day. Briefly, washer men for dirty linings…anyone to cleanse the soul? This placid place with bustling activities and philosophical values be with us forever-

Q: What is the subject line of your Digital creation?

TP: I do not define boundaries of subject line. All my traditional style of work in paints and pastels on canvas and the latest Digital art are based on my observation of daily life of people around me. I stay in Mumbai which is a perfect place to find street dwellers as well as mansion owners. I try to portray them in my work exposing the critical part of it and the role it plays in forming the society. For example a street child enjoying showers from the cracked water pipeline or a public laundry at Mahalakshmi or perished textile mills and high rises right in front of these mills, the textile mills which were important earning source of commoners in Mumbai, these and such topics are subjects of my Digital Art.

Q: Your work sensitizes the topic and seems to be a thoughtful process and I personally feel that they would represent the history of our times after a century.

TP: It is fine that you feel so. But I create because I am sensitive towards societal issues. I like to paint social issues and make a critical statement through my work. But it is not always a seriousness that I capture but lighter moments too. With times lifestyle, infrastructure of the society and more over behavior and outlook have changed, I try to showcase that change- either good or bad or say, two sides of the same coin.
 

Q: Why do you vote for blog for displaying you work?

TP: These are the fastest mediums of communication. Social networking sites give me large exposure to art lovers and art buyers all over the world. Analysis done by people in the form of comments and reviews inspire me. I do not have limitation of displaying my work. I can upload any and every kind of work that I want world to see. I have nearly twelve blogs and all my creations are online 24x364days, more then twenty thousand viewer view my blog till. I am at my leisure without adherence to anyone’s terms and conditions. Gallery is good for exhibition to see live work and face to face interact with me,  blogging is good exercise before  do best show in gallery, so are these social networking sites with their pros and cons, at least at present and the world is changeing as one global village may be trums  of good or bad.

I have my 3 series in limelight for present, they are: Indian Dhobi Ghat, Chip hanger body, India's Koodafication on Moon. These digitals going to Milan, Cuneo, Dhaka and Kolkata gallery. Future is predictable. But surely I will stick to my passion of painting and my visual art. As I like progressive things I might adopt new technology while working on Digital. I like to flow with current to discover new paths and new destinations, I am planning do some work called Public Art near my studio at Bolinj  village on Rajawadi sea-side beach… be there

As told to Pankaja JK, Freelance Art writer.14/8/2012

 

Umakant Tawde - Manifesto Peace 2010 by Pankaja JK

Umakant Tawde has an eternal passion to depict peace, harmony and unity in nature and material world. He subjugates the concept  in various forms and symbols. His distinction as a solicitous painter can be admired in the depth of his thoughts, in upcoming series of 12 paintings titled Manifesto Peace. 

The paintings are represented in very colloquial manner, using native style of canvas representation, the current trend of computer effects, graphic work and installation. If Gandhiji is much acclaimed figure in the world, inspiring most powerful people, then why is the need to portray him? Of course! It necessary to do so.  Shown in the painting From Mohandas to Mahatma’, is his transition from a tip-top dressed youth for a  white- collared profession to a fighter( outside war zone) for human rights, freedom and unity. It magnetizes us to his personality and fervor. The painting also depicts his motive to change the external appearance and that was to empathize with the people he struggled, for  viz. the poor Indian society; harassed and denied of justice due to caste, class and ambitious differences.  Patience and understanding were the keys of his philosophy. His resistance was unique in its form: Non- violence- the act which was far remote from framed mind- set that a fight means arms- for- arms. His thoughts echoed and received attention by people all over India and also in other nations that were being slaved by vindictives; as in South Africa.

The artist himself confesses of knowing very little about Gandhiji in his childhood and of paying homage to him after hoisting the national flag on Republic Day and Independence Day. He then wondered why Gandhiji was considered Father of the Nation and what was his greatness compared to other freedom fighters who shed their blood and sacrificed their lives for freedom?  But as he matured, profound thoughts  took over his innocence, he gained insight into the brighter side of freedom struggle staged by Gandhiji through Peace and Unity. The gist was ‘Silence is powerful than words or action’. His creations represent the same.

The color, feel of texture charges the feeling of patriotism in  ‘The Charkha of Unity’. Prodigy of Gandhi lies not only confining himself to minimal needs to stay alive and carry out the mission, but also in having innumerable followers following his footsteps of living simple life, wearing khadi and being vegetarians. They effectively carried forward non- cooperation with British rulers as guided by Bapu.  It also indicates the rich and varied cultures, religions and languages of India in the form of Charkha which worked in unison to weave the simple yet durable fabric of Independence. The colors in this painting signify his love for all religions such as color green for Muslims, red the Hindus. The black background is the subtle indication of patriots who came from every walk of life and religion without personal identities, but addressing themselves as ‘Indians’ to fight for the common cause.  

‘Crossword of life and death’, in this the artist has shown the benevolent Gandhiji in relation to the recent threats of terrorism faced by nations all over the world. The cube of plotting, planning and slaying is brutal and unthinkable. Bapu’s opposition to the British rule was serene, to combat the cruelty. So, instead of armed fight in today’s condition, isn’t it better to retaliate in his manner to avoid further animosity? To find the way we do need microscopic view of the situation as shown in ‘Microscopique view’ where Gandhiji is shown keenly having microscopic view of the trouble in the political, social and religious spheres at that time, the watch represents the troubled time . The orange ladder represents the success of his thoughts and efforts to find solution. So, for us it’s time to have ‘bird’s eye view’ or rather say ‘Gandhi’s eye view’ to face the malice.

This series speaks volumes on Peace and Unity not only through images but also through the medium of presentation .i.e. colors, graphic representations, installation and simply picking on the already existing things like postal stamp in relation to the topic, enlarged and pasted on the ply. Speaking of the use of colors Pink and Khadi in ‘Bapu’ and ‘Keep the spirit alive’ depict his journey from youth to old age, spent in charting out non- violent moves of opposition.Charity begins at home, so does the fight for noble cause as seen in ‘World is my Family’, where Gandhiji is supported by Kasturba to fight evils in the society. The couple is truly an ideal couple.The painting ‘My Life Is a Message’ is his last ritual fire which instigates the feeling of patriotism, love and peace in us.The London Art museum showcases a goat named Gandhi depicting it as useful to mankind in every way during life time and also after being slaughtered it does not loose its value.

Gandhiji’s postal stamps on ply speak of his popularity all over the world. No wonder, Barak Obama, the President of one of the most powerful countries of the world America, idolizes and considers Gandhiji as his greatest inspiration in making political moves in peaceful way to curb the vindictive aims of the destroyers of the world today.Installation on ‘Unity’ has the powerful message of staying united every moment, to face the threat that universe is facing in the civilized disguise. If it is let loose, the price will be lives of thousands of innocents. It voices the message that, not only the birds of same feathers should folk together, but it’s time for all the birds with different feathers to folk together.

Umakant’s topic and its presentation is a wordless library with thoughts as books and rumination of it is to strengthen the knowledge.

Still there is so much to ponder over this great personality. “Generations to come, it may be, will scarce believe that such a one as this (Mahatma Gandhi) ever in flesh and blood walked upon this earth.”- Albert Einstein.   Article by – Pankaja JK 2010

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M.F.Husain was a legend and legend doesn't die, he gets transformed into things he had intimately accustomed with during his life time.

Translation Editing by Pankaja J K

 M.F.Husain was a legend and legend doesn't die, he gets transformed into things he had intimately accustomed with during his life time.

The particular body which we associate with Husain was his I-Card, his habitat and a vehicle of conveyance i.e his body which was fit and fine until a few days before his demise. . Whenever I had come across him I observed that he was never in his body but with his body, utilizing it as an instrument of prime importance. The reason might be, that he knew that God had gifted him such a beautiful and long lasting natural vehicle bearing wings of imagination so that it could help him to fly very high where others wouldn't even dare to dream.

(copyright photograph by @Tathi Premchand)

Along with the vehicle God also gave him the key which was, the liberty to operate himself. He had taken every care to maintain the vehicle and the key with discipline and good lifestyle. But on 8th June 2011 at an unfortunate moment he forgot the key inside his prestigious vehicle and locked himself out eternally. That unexpected tragedy forced him to leave the body forever. But naturally his physical existence became eternal and then he spiritually migrated to his most sought-after things that include the nation he belonged to as his birth right, floated in the memory of his father, mother and his wife, his prospering children, grand and great-grand children, people he loved and people who loved him. He left his memories in his paintings and his tools. His future always brought to him challenges and his exotic dreams that he saw with closed eyes and broad intellect.

His field of association was so vast that his process of spiritual migration must be still on. For him it must be like a pilgrimage which I believe will continue further perpetually on a more intensive level on coming auspicious day known as ASHADI EKADASHI in Pandharpur where he was born.  He had been very dearly associated with his childhood memories of this place. Thus his voyage will complete its first round and will begin the next one, and then the next one and next one and so on till the human beings and their creativity exist on earth.

This is the time to remember his contribution, (and not the controversies).

And therefore I would like to share briefly with you my personal studies cum observations about him and his work right from my student-days till today.

In sixties and seventies of the last century , beside Jehangir Art Gallery there were only four galleries in Mumbai, Chemould, Pundole, Chetna and Taj Mahal Hotel The number of artists were also less and amongst them the prominent presence of Husain could be felt everywhere in the art field. Husain was well known then as he is today and surely will remain in future too.  Why is it so? I asked myself and the answer that I inferred was that, while doing his own work he has worked silently and endeavoring some reformation in the art field. Very few must have noticed it. He never announce publicly how he is going to do it, proclamation was never a part of his self esteemed nature because as we all know he was a man of few but appropriate words. To serve the art and art-field he did not form any group or organization or a movement but walked all alone with utmost desire holding close to his heart, mind and soul and applied his sense of social awareness, organizational skill as well as the capacity to activate it impressively to best possible extend.

If you observe and analyze the phases of his work and journey as a social being you will realize that what so ever he did, apparently seemed benefitting himself but in reality, it also benefitted painting artist community in particular and art field in general. On the contrary his life and works reflect the extent to which he sacrificed himself to uplift the Indian art. Let me prove it by describing briefly the changes he introduced through his work attributing to bridging the gap between artists, their art and public.

(copyright photograph by @Tathi Premchand)

If you remember his work from fifties when art was not a public affair but limited to elite class of the society, you will notice that even during those days he had pure passion for art and art alone. He was painting for art sake. It was appreciated by few connoisseurs who would sometimes buy it for their personal collections. But very soon he realized that this would not help art and artists’community in true sense and therefore he must have decided in his heart to take art to the public at large.

By that time his other major companions, Raza, Souza and Bakare, from the Progressive Group had left India and settled abroad. Had all the progressives stayed here, their presence would have laid the foundation for the culture of art in our country. (In Europe the inventors of isms and movements did not leave their establishments which has helped their culture of art get rooted in the very soil that proudly upholds their contribution for many centuries) The history of modern Indian Art would have remained on the lips of the public and not buried in the history which after fifty years is excavated in pieces with wrong motivations.  So Husain alone took the responsibility to lay such foundation without proclaiming it, and since then his work, his approach, his behavior in the public changed. He painted horses; he painted generic subjects, even marriage cards and wooden toys; but of course, not in a traditional manner but with a conviction and style adopted by Progressives.

Nothing was forbidden to him. His fingers always fleeted and his eyes were sharp and penetrative. He had known the magic of becoming one with the matter he perceived. He used to invent new methods, mediums and subjects that would create sensation in the public. In seventies a devastating cyclone occurred in Andhra Pradesh and he took a giant emotional leap to go closer to Indian people. He exhibited brilliant paintings which had made a lasting impact on Indian mind and it had served his purpose of making art communicate with masses to some extent.

Then came the period of Emergency and he openly supported the then Prime Minister Mrs Indira Gandhi by painting three huge canvases dedicated to her vision and spirit. By then he was already in the lime -light but this venture of his put him under constant focus.

(copyright photograph by @Tathi Premchand)

Later on he did many experiments with his art and environments, carried on stunts in the public places like walking bare-feet which at one time prohibited him from entering a five star hotel, white- washed his own works thus, astonishing the public. When hunters were killing wild animals he tried to save them in the form of his painting. He kept giving exotic interviews from time to time which would lead to gossiping. Then onwards he constantly remained in the news. He did everything he could do and all that lead to attracting masses to his art and art of others too. But frankly speaking, his vision for classical art and passionate involvement in his personal idiom suffered a setback. He became a popular artist of the masses. Today almost every Indian knows him.

This man of conviction and commitment could have easily worked just for himself and produced comparatively less number of works and enjoyed the coveted place of a genius. He himself knew it and that is why a few years back, while commenting on Gaitonde he said "Gai is genius, I am just popular." This very statement is also sufficient to prove that only genius can recognize another genius. But genius of Husain preferred to be popular aiming to make art popular which has ultimately helped other artists and their art to become popular.

I also know that Husain had taken with him buyers to art exhibitions of young artists and convinced them to buy artworks. It will take time for us to realize what we would greatly miss without him today onward and what we didn't realize during his lifetime.

Today we see that large numbers of appreciators are attracted towards art in the country, it’s mainly due to him and this is the worthless contribution of an one man army called Husain.

An artist who began his passionate journey in art by painting cinema posters and raised himself to the status of a legend.

I am fortunate to meet him on several occasions and witness him painting and watching his brilliant work in my life time.

I salute him from the very core of my heart!

- Prabhakar Kolte