Subodh Kerkar: ‘Pepper Cross’ Berlin Germany 2012-2013 As reviewed by Pankaja JK.

Vast sky, Stretched water…

Making the canvas of my vision brighter and broader

 Copyright ©Prasad Pankar Photographer

Subodh Kerkar’s ‘Pepper Cross’ exhibition at Berlin was a perfect representative of historical reference to amalgamation of cultures and he traces the very roots of its cause- The life giver and speechless communicator- ‘Water’- stretched Seas and vast Oceans which were and will always be instrumental in changing the face of world. . He visualizes the ingression of alien culture into a particular land and how the people get influenced by it. For him ‘Goa’ an Indian state stands as the best example to support his observation. As Subodh Kerkar hails from Goa; the land of beaches he is always fascinated by its vastness, and may be the character to embrace the non-ending horizon. He rightly points out that civilizations nurtured and developed along the coast and long stretching oceans were basically responsible for spreading culture, exchange of knowledge. He has amplified the concept by concentrating on culture brought in Goa by Portuguese and with their stay here for almost four decades made such a deep impact that the whole culture of Goa changed and today it is known by the identity developed due to Portuguese influence. Goa was one of the typical Indian states before the advent of Portuguese adopted the Western influence and religion (i.e. Christianity) and today it is famous for its westernized character. And when I state Goa having ‘Western character’ it includes even the culinary ingredients which is the topic of interest of ‘Pepper Cross’; new ingredients added to food items, revolutionized Goan kitchens and food habits.  Chilies, tomatoes, potatoes, pineapples, cashew and many other fruits and vegetables were brought into the country. The techniques of baking bread and distilling spirits were introduced. A variety of mangoes were grafted.  Umpteen other culinary novelties were introduced.

Portuguese came to India for taking over the pepper trade from the Arabs and spreading the Christian faith. They were successful in their mission and steadily they colonized Goa and stayed here for more than four decades. Today more than half of the population follows Christianity and the culture they brought in. To symbolize their rowing in basically for trade intentions and spread of Christian religion and apparently the new culinary methods introduced in Goa is all beautifully presented in sculpture ‘Pepper Cross’ using the one hundred years old hull of a fishing boat and a pair of oars to make a Cross pepper itching on it. There are also chilly and bread sculptures which are now a part of regular diet in Goa and all over India.  Though ‘bread’ was rejected as apart of main course by earlier Hindu community because according to them it was not a fresh preparation and made with fermentation process; but the same bread has become important part of even morning breakfast for almost all the people of all religions, apart from Christians. This deliberates on the fact that India has a natural tendency to adopt and covet different religions and cultures that came in India through cross-border connections either forcibly (like European who colonized India) or through trade intentions.

He also gallops down the memory lane by creating an installation of horseshoe patterns on the shores of Goapattanam using shells collected from the same beach. The beach was a major port in carrying out the horse trade between India and Arabia. Later this port was silted but relics of its dock still remind the past and Subodh’s photograph of that installation refreshes the history. His site-based artistic output is a rock smeared with ‘Indigo’. Indigo was all time favorite pigment and this is extracted from a plant Indigofera tinctoria and related species. India grew indigo ever since the Indus Valley civilization, 2000 BC and was the main commodity of export. Subodh states that it was an important part of the cargo on the Caravellas, sailing to the west through the blue waters of the Indian Ocean. So again he highlights importance of ocean in trade and Indigo color as important commodity of trade. The sculpture of ‘cotton-pod’ projects the creative handicraft technique of knitting tablecloths, bedspreads, etc. with thin threads of cotton was introduced to India by the Portuguese.

To sum up, ‘Pepper cross’ highlights the cross-pollination of cultures and subtle ties between various cultures of world and India and Subodh’s photographs, sculptures and installations draw attention to it. It is a unique style of work where instead of traditional method of capturing landscape and seascape on canvas, he uses sea and its surrounding as the base for his imagination and creation. The things with which we are familiar make us contemplate about their very existence in our lives and the exhibits play a role of visual history at large.   Vast sky, Stretched water…

Making the canvas of my vision brighter and broader…Subodh Kerkar’s ‘Pepper Cross’ exhibition at Berlin was a perfect representative of historical reference to amalgamation of cultures and he traces the very roots of its cause- The life giver and speechless communicator- ‘Water’- stretched Seas and vast Oceans which were and will always be instrumental in changing the face of world. . He visualizes the ingression of alien culture into a particular land and how the people get influenced by it. For him ‘Goa’ an Indian state stands as the best example to support his observation. As Subodh Kerkar hails from Goa; the land of beaches he is always fascinated by its vastness, and may be the character to embrace the non-ending horizon. He rightly points out that civilizations nurtured and developed along the coast and long stretching oceans were basically responsible for spreading culture, exchange of knowledge. He has amplified the concept by concentrating on culture brought in Goa by Portuguese and with their stay here for almost four decades made such a deep impact that the whole culture of Goa changed and today it is known by the identity developed due to Portuguese influence. Goa was one of the typical Indian states before the advent of Portuguese adopted the Western influence and religion (i.e. Christianity) and today it is famous for its westernized character. And when I state Goa having ‘Western character’ it includes even the culinary ingredients which is the topic of interest of ‘Pepper Cross’; new ingredients added to food items, revolutionized Goan kitchens and food habits.  Chilies, tomatoes, potatoes, pineapples, cashew and many other fruits and vegetables were brought into the country. The techniques of baking bread and distilling spirits were introduced. A variety of mangoes were grafted.  Umpteen other culinary novelties were introduced.

Portuguese came to India for taking over the pepper trade from the Arabs and spreading the Christian faith. They were successful in their mission and steadily they colonized Goa and stayed here for more than four decades. Today more than half of the population follows Christianity and the culture they brought in. To symbolize their rowing in basically for trade intentions and spread of Christian religion and apparently the new culinary methods introduced in Goa is all beautifully presented in sculpture ‘Pepper Cross’ using the one hundred years old hull of a fishing boat and a pair of oars to make a Cross pepper itching on it. There are also chilly and bread sculptures which are now a part of regular diet in Goa and all over India.  Though ‘bread’ was rejected as apart of main course by earlier Hindu community because according to them it was not a fresh preparation and made with fermentation process; but the same bread has become important part of even morning breakfast for almost all the people of all religions, apart from Christians. This deliberates on the fact that India has a natural tendency to adopt and covet different religions and cultures that came in India through cross-border connections either forcibly (like European who colonized India) or through trade intentions.

He also gallops down the memory lane by creating an installation of horseshoe patterns on the shores of Goapattanam using shells collected from the same beach. The beach was a major port in carrying out the horse trade between India and Arabia. Later this port was silted but relics of its dock still remind the past and Subodh’s photograph of that installation refreshes the history. His site-based artistic output is a rock smeared with ‘Indigo’. Indigo was all time favorite pigment and this is extracted from a plant Indigofera tinctoria and related species. India grew indigo ever since the Indus Valley civilization, 2000 BC and was the main commodity of export. Subodh states that it was an important part of the cargo on the Caravellas, sailing to the west through the blue waters of the Indian Ocean. So again he highlights importance of ocean in trade and Indigo color as important commodity of trade. The sculpture of ‘cotton-pod’ projects the creative handicraft technique of knitting tablecloths, bedspreads, etc. with thin threads of cotton was introduced to India by the Portuguese.To sum up, ‘Pepper cross’ highlights the cross-pollination of culture

(Subodh Kerkar working at studio- Goa- India)

The Papper Cross going Berlin by Subodh Kerker : Pankaja JK review coming soon

Archana Mishra : Print

We naturally associate with varied expressions of nature and likewise nature also assimilates us in its varied forms in such a way that we cannot hold back ourselves from experiencing it. I always project these expressions in my creations and to paint it in identified and unidentified images according to their characteristics is my all time furor and contemplating and painting this vastness in a unique manner thrills me. So by painting my turbulent emotions and calming my inconstancy of mind on plain canvas, I also aim to liberate myself. To portray my very own talismanic world and to live in its celestial impact, bestow me a new persona and that is the sole reason why I am forever ready to integrate this whole world in its charisma... Archana Mishra

Copyright © Archana Mishra

(Copyright © Archana Mishra)

                                                            

“My sculptures are the first hand experiences of vast social environs…”

Parag Tandel on his sculptures and installations.

   

Parag Tandel is a thoughtful and concerned artist who is involved in many nature and social awareness programs. His work is not only an expression of first hand experience of the society from where he hails (he belongs to fishermen folk from Thane, near Mumbai) but also his everyday travel experiences. His site-based works also deal with serious issues of destruction and apartheid behavior against the victims of nature and poverty. In one of the installation he also highlights on innocent beliefs of people which can also be termed as blind belief by intellectuals. But whatever it is, it the faith of people that he highlights. I spoke to him on almost ten of his sculptures and installation and he justified every work with relevant reason. I wish to give the account in his own words that magnify his say. 

JK: Tell us about your sculpture and installations.

P. T: I established my self as an artist in 2005  and since then involved myself in various visual art expressions. Since beginning I am interested in sculpture and installations based on meticulous observation and research. My sculptures and site specific installations are the social dialogues and globally concerned topics. I aim to bring to notice public ignorance towards society and nature and its severe effects on every living being on the earth be it flora, fauna or human beings. For me “Concept is common but creating it in my own language of image is very important ". As I grew up and was drawn in complexity of society and its environs; I became mentally and physically mature and realized the gradual but obvious changes in me. I found the Art as the only way to express my concern and passion. I became instinctive and understood that art is not just for expression of beauty but for the social cause too; developing concern and awareness for environment around us and started experimenting in various mediums. I was also lucky to be successful in actually presenting my imagination into reality and making use of commonly found, low or no cost materials like, wood, rubber, clay which are many a times discarded materials or objects in junk yard, since I believe in showcasing my concept in minimum cost and simplicity.  

My sculptures are the first hand experiences that I have while at home, with family and friends or even out there in vast surroundings of my social environs. These all give an artistic expression to my creations. My confidence in my imagination initially resulted in two exhibitions called Pregnant Room 1’ and ‘Pregnant Room -2’ respectively. In pregnant room – 1 I have dealt with the experience of walking and excessive walking that leads to blister on feet. I have applied reverse theory on floor that, because of constant walking on it, it gets blisters on its surface. I have specifically kept in mind the busiest platform of CST railway platform, which had worn out and is now modified. I applied the human character of developing blisters due to constant walking for long hours to this inanimate platform which has been used by commuters and goods carriers on railway platforms since very long time. In this Wood, Rubber, FRP combines to create sculpture laid on the floor. Through this air bubbled rubber sheet that lay on the floor, I wanted the visitors to experience the touch of sensitive and frail blisters and so let them walk by stamping on these protrudes. But even the thought of it being skin and blisters prevented some of them from walking on it. I think this was the real success of my creation to produce the desired effect in minds of observers.

People have reviewed these sculptures as familiar and enigmatic which are also simple and complex at the same time. I am happy with there feedback as many a times they are true to my intention of creations. There is a step beyond self-expression, a social consciousness as generally I suppose Art can instill a sense of connectivity to our environment. Sculpture can interconnect the realms of art, science, nature and humanity.

(Recent work Parag Tandel)

In Pregnant Room 2: III Sculptural Installation, I experimented with Rice flour bread (rotis) incased in

resin, thread and straw mat and created a wall sculpture which is nostalgia of my mother preparing

these rice flour breads and selling it to earn money for family. Though we had a family profession of fishing, due to worst conditions in this field, my mother and other our folk women were compelled to leave this profession and adopt the very different way of earning means. . It was strange that a (bread) roti was sold to earn daily (bread) roti. 

Pregnant Room 2 continues as a part of In Pregnant Room 2: III Sculptural Installation, I introduced injections & hairclips with wheat flour (rotis) incased in resin, which symbolically signifies the modern method of Botox injection to increase beauty and hide the growing age and real bread which is actually helpful in being healthy and strong. But modern day elites prefer Botox instead of natural food. In pregnant room-2 V Moths around tube light which I daily experienced in my studio which is besides mangrove forest, whole year moths hover in my studio this was just an experience but I used materials which were at hand and around my daily life to share this experience. Pregnant Room 1: V is a Stoneware sculpture presenting violent city and its grueling pressures, and the fragile medium (stoneware) creates sound in it.

The instinct to present social and environmental issues triggered and became the aim of my Artistic

mission when I was personally affected by the toxics and had Tuberculosis in 2009, as I regularlyworked using harmful chemical in my studio and breathed it in and out almost everyday. I was given

the injections to strengthen my lungs and I had to go through lot of pain to recover. Feeling I have experienced when I was told to do a CT Scan. They gave me injections for contrast and if you can’t digest that contrast you get vomits, I really felt violent that time as if something is attacking on my body and

body is fighting internally in violent way to recover from external attack. At that time I realized the cruelty that we inflict on our environment and something must be done to stop or at least reduce it. So I started working on realistic concept. Pregnant room-2 II is where I have presented worn and torn foam sheet to present Lungs and how it looked after being under toxic attacks (may be by as a professional in field related to harmful chemicals or using toxic colors or it can simply be due to consuming

tobacco or chain smoking) is an installation based on this fearful personal experience.

While I have designed and installed public art projects, it is my most recent environmental designs that I wish to talk about to give an idea of how I would approach future projects from an artistic and rational

point of view. In ‘Big Catch’, I have employed background of fishing community and my family business.I have worked using the garbage or junk items that loiter in the junk yards or are randomly found on streets and in neighbor hood. In pregnant room - 2 -I I used Silicon rubber and discarded, worn out nylon fishing net. This fishing net seems to be allergic to the pollution of toxics poured in the by humans in sea. The blistered texture for the catch from the sea is developed using bubble rubber sheet and amoeba shape hanging on the wall hooked in a nail.

In 2007 as a public art project for Kalaghoda festival sponsored by Pundole art gallery, Mumbai, I had

installed ‘Unbranded guards branded’ that highlights an orthodox belief of Indians (especially followers

of Hinduism) that shows green chilies and lemon sewed in a thread and hanged at the entrance of the

house or commercial premises to ward off evil. It has always fascinated me that a security can come so cheap and considered powerful without any arms and ammunition for safety. And interestingly, every kind of person either illiterate or qualified, use this abstract, unpatented method of security and protection. In 2009 I was invited for a site specific workshop ‘Sandarbh’ in Paratpur, Rajasthan,India. Here houses were ruined due to heavy rainfall. One of the houses was in debris as the family hadleft it during the calamity. Though Government was responsible to rehabilitate them and give aid for reconstruction of house, no one and for that matter not even the local municipal office took heed of it. This was an injustice and sad state which inspired me to use this site as an eye opener towards the lethargic and careless attitude, so, as a project called “Completion of Incomplete” I cleaned the whole tenement house and rearranged everything around the house, applied cow dung and soil to makes wall better and stand and make it visible to viewers and bring to notice and make them ponder whose fault was it exactly? Natural or man imposed? Basically I like to handle the social issues and problems which do not have any specific individual creator but society and nature as whole. I also share this with thoughtful minds as I conduct workshops and brain-storming sessions to create awareness towards our environment and society that we live in.

My site specific works are closely knit to survival instincts. ‘Big Catch’ for Kalaghoda festival, Mumbai,

sponsored by Pundole art gallery in 2012 is a public art project. It is an installation based on my daily

experience of travel to my studio which is at Vitawa Thane), a starting point of fishing area. Since a few

years, as the fishermen row to find the fish in deep waters they catch more than just a fish and it is all

but garbage dumped in sea like, thermocol, plastic bags and bottles, electrical equipments, foot wear and all the waste polluting and destroying the eco-system of this area.The garbage is so prominently tucked in net that it seems to be a new species of fish. This garbage itself is the medium I have worked with.  I installed a big fish made out of worn out fishing net and all the garbage dumped in it, here I wished to present an unusual and sarcastically newly identified species of fish; dangerous fish, rather

than known ones.

Q: How would you like to enhance your work?

P.T: I would like to advent into varied communities and cultures, know the positives and negatives around the globe and present them in my works sometimes simply for visual delight and mostly to develop concern and awareness.

PK: Wish you success in all your noble plans!

PT: Thank you.  

Satish Wavare latest interview -Pankaja JK

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: Satish Wavare  compete painter still on high note in Mumbai art, 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 Satish Wavare 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.

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

Call for Entries

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“…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!