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Paintings:
For more
details about the artist, his paintings etc, please visit : http://www.awadhesharts.com
Symbolic Edges.
By M. Balamani
Awadhesh’s art expression can ‘clean bowl’ you, if
you view those compositions on the abstract or
cubist’s language mould and time bound. He displays
many meaningful symbols on the merging edges. There
is a visual harmony on the color combinations and
compositional sensibilities. No canvas offers sudden
jerks and shocks on the journey of color
combinations. He travels gradually from lighter to
darker hues or other way. If he chooses brown tone
for one canvas, the whole palette mix will be on the
lighter yellow to darker brown. Similarly purple hue
does not mix with green tones. There is a perfect
sensibility of color choice.
Abstract language and
cubist forms seem to be choice of vocabulary alone
for forming the visual statements. Misra’s
expressions open many directions to think. His
visual statements are on certain themes and talk
about the Indian rural landscape, festivals and
rituals. His compositions are communicating the
pleasantness of unbound and open nature and the
mutual relation of life with it and within it. One
becomes emotional on expressing the life of one’s
own native place and landscape, feels boundless
happiness while memorizing their land’s culture and
practices. It becomes hard to find analogy to
explain that unbound happiness. That emotional
communication searches a language that can express
the similar formlessness and abstraction in
communicating those boundless feelings.
Geometric symbols like circles, squares etc keep
appearing in his compositions. They are not
suggesting the meanings of those painters choice who
talk about the figures of Tantric -Bindu etc. These
symbols are not even to fallow the cubist’s
language. They seem to be suggestions of peep
windows. These windows are suggesting us to view a
rural landscape, understand the depths of life. They
are suggesting a small piece cut from the larger
object to reflect that complete form.
Green fields or birds are suggested by few brush
strokes. For eg, a parrot or a blue jay bird may not
be a direct suggestion from the figure represented.
The pleasantness of its green or blue is spread on
the surroundings of that bird. It is to suggest that
specific season and the pleasure to sense the
essence and colors of that season. There are
triangles and longer lines to represent certain
figures. They are suggesting the human forms that
are probably wandering in the dreamy world or
engrossed in their work. Forms appear known as well
as unknown figures, relieving themselves from the
objective meanings to inform the abstract meanings.
Some compositions
display half black canvas and another half with
colorful forms. Are those compositions suggesting
that pain and the pleasure are together, darker
night has to fade away to open the window of bright
mornings to wish us a wonderful day. Many such
abstract meanings are generated from his visual
statements. Such abstract meanings suggest that one
should travel on a philosophical path to understand
the known world to feel that unknown celestial
world. His suggestions travel between two opposites
and in between two distant codes. Language might
offer smooth journey but not the meanings. They make
you to swing between the opposite poles. Narrations
are embedded in the day to day life experiences but
the expressions are sensuous.
He is a writer too. Speaker or writer perceives an
object and interprets to communicate in verbal
language. That interpretation searches a reasoning
and evidence to explain. Art expression is an
expression of emotions and feelings. That does not
fallow any reasoning. There is always a search to
express the exact emotion that might go beyond the
rational and defined grammar. Amazingly Awadhesh can
shift his expression on brain chambers from
reasoning to unbound emotional communication.
Rationality is one such strong element and
influential always searches the evidence even at the
sub conscious levels. A writer in the Misra too is
searching for that. His rationality very well
settled on the abstract language to express the
unbound essence of the true nature but not offering
a visual feast of that rural landscape of one’s
memories. That has occupied the back layers on the
expression. If we classify our appreciation towards
his compositions, that has three categories. Rural
life and open fields as an object taking the back
seat, middle layer of appreciation should be given
to that feeling of unlimited nature in one’s
perception and priority appreciation should be given
for abstract language.
There is a pun in his painting compositions. He is
explaining that other world through the
‘absence-presence’ and negation methodology. Absence
of form itself is suggesting various meanings.
Choice of abstract language and not opting for
titles for the compositions is symbolic. This is a
specific way of ‘philosophizing’ the mediation of
meaning. That is mediated through the absence of
form on the screen of imagination. Here the negation
of form on the abstract visualization is superior to
completing the form. Not presenting the objective
figures, are creating more impact than the presence
of forms. Negation of figure is withdrawing the
vocabulary of real and objective world. That is
playing a double strength to know the fuller picture
for imagination and craving to know further on that
abstract world. There is an edge and shadow on such
kind of expression to stress the sensuality,
spirituality while creating such visual dialectics.
Misra’s abstract language is to suggest the
ineffable to renounce the aesthetic by playing
lesser attention to pictorial to create the dreamy
world.
Balamani M
MS University, Baroda
7th Jan.2007.
For more details about the artist, visit : http://www.awadhesharts.com
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