Untitled-A Painting

Nature has long served as an inspiration for, subject of or allegory to artistic depiction. So it is with myself. Born in a farming family, I carry inseparable memories of lush green cultivated land all around me, as also impressions of the layered imagery of nature that permeated my range of vision as a child. BFA and MFA at Varanasi taught me to translate these impressions into art. Nature has many hues both inside and out, the magic of its mysteries and fascinations unravelling marvellously as one probe. Though vehement in denying my woks to be abstract in their intent, my oeuvre may well be termed as non-figurative in its essence. Going through my canvasses one by one underlines the belief that aesthetic experience cannot be reduced to pleasure in the sense of mere distracting amusement. While at the artworks may provide a haven for the emotions, i do contain a certain realm of unbridled truth nevertheless., for clearly, my whole function of representing/interpreting nature seems to oscillate between its significance as a total realm of being outside or beyond human intentions and its status as a series of perceived environments outside the self, where particular entities evolve within explicit nonhuman contexts. my practice explores issues of the natural world and addresses our relationship to nature. my profound concern for the fragility of the natural environment has been constant. I has delved increasingly further into this fascination with the interconnection of life forms and ecologies to produce work driven by themes of alchemical transformation, history and perception that is distinctive, complex and beautiful. She creates immersive environments that navigate the interconnections between organic elements and systems of nature. Within the recognised threat to so much of the life world she explores what it might mean to heal, albeit metaphorically, the natural environment, fusing this with a sense of communal loss and search for connection with powerful life forces Beginning with putting down a core idea or memory, of some particular layered perspective of nature, then I proceed to build it up layer by layer, cutting, stitching, pasting as I goes, the cutting and joining signifying the continuity of nature in destruction and growth. The visual potency of my compositions and the challenges my subjects myself to in the process of making them, manifest, and even go to exemplify, Schopenhauer’s notion of the expressive will. As the name implies, the relevant aesthetic virtue is expressive will, and its pictorial exposition functions to make public the realm of primal, non-conventional meanings hidden within the artistic psyche. Works of art, even when imitating the beauty of nature foster spiritual progress. One makes such progress through acquaintance of beautiful things to beautiful acts and, then, to beauty itself as it shines through the pure primal soul. That power which makes the soul indivisible, touches things of nature too, suffusing all with beauty as light dispels the dark.