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FRAGRANCE OF AUTUMN
FRAGRANCE OF AUTUMN
A very long time back I lived and painted on an old boat anchored on Danube near Black sea in Romania. It was autumn and the landscape was a passionate rust, crimson and yellow ochre. It was magical to say the least. I was in communion with the landscape. At other times I would breathe in the autumn landscapes of Europe in Finland, Tatra Mountains in Slovakia and Poland, Styria in Austria, Alpine Piedmonte in Italy, France, and Hungry.
The senses are seduced by the proliferating warm colours as the leaves turn from cool green to life red, rust, brick, yellow-ochre, brown colours. Something happens to soul, it starts to sing, is inundates by a dazzling warmth and pleasantness. Autumn used as a metaphor run to life as well as death. Poets often use the negative metaphor but for visual artists autumn is the great celebration of the festival of colours of joy. By a quirky association I relate the red beard of Vincent Van Gogh in his famous self portrait (1887) to the red of autumn.
But is not the autumn the surfeit of rejuvenation. Do we not talk of the birth death rebirth cycle? Is the Resurrection of Jesus not an emblem of continuity of life and hope? So why be afraid of death? Paul Laurence Dunbar looks at autumn as a celebration and reason of joy—
The earth is just so full of fun
It really can't contain it;
And streams of mirth so freely run
The heavens seem to rain it.
Don't talk to me of solemn days
In autumn's time of splendor,
Because the sun shows fewer rays,
And these grow slant and slender.
The three artist exhibiting together –Baljit chadha Manoj Mantra and Victor Vijay Kumar have titled the exhibition ‘Fragrance of Autumn.’ Baljit has a canny subterranean sense of poetic evocation in his works. He never walks the path familiar. Like a Nature poet he triggers your imagination and you are alone—all by yourself to explore the possible worlds that inhabit his expression. He explores the spiritual in Nature and extends our ‘seeing’ beyond the routine. The artist is provoked, enamoured and literally obsessed with Nature. What better way then to paint the passion of sweet autumn. He brings an expression that borders on surrealistic interpretation of Nature. His works are in the lineage of abstract and nature synthesis, mystical paintings by American artist Georgia O'Keeffe. She was greatly influenced by nature. To quote "Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not." Baljit mixes virgin joy of nature with a personal monologue. He extends the visual vocabulary of familiar flora by a personal element of imagination. Some of the flowers or vegetation evolves from his inner botanical garden.
Victor Vijay uses a style involving the splashing of colours with brush on the painting surface. The intensity, the thrust, the direction, the height of brush from canvas, the thin/thickness of paint and emotive mood are some of his tools in his art. He also prepares the ground with thin colour washes of acrylic paint. These thin washes overrun each other and create vary coloured transparency and opacity. This creates a subterranean vary coloured underworld on which his brushes of different length, thickness and width work to develop an overlay more like the overlays of precious stones on gold, silver or platinum jewellery. You can not call Pointillism for he splashes colours; nor can you call it Expressionism for he varies his energetic splashing as a variant of his own moods. It is his personally evolved and cobbled technique of painting.
Victor’s painted world of autumn is a symbolist touch on the great expanse of existence. The autumn in his works acquires shapes different from nature or is metamorphosed as human emblems. Symbols like dots, curls, circles, spirals acquire a different dimension in the grand opera of his autumnal landscapes. For him all beauty emerges from the inane and simple, “I create rainbows from the white purity of Infinite”
Manoj Mantra does not paint autumn as such. His art is imaginative, metaphysical and re-creates a form based world into a fantasized universe. Mantra has developed a drawing style with simple naive line where he juxtaposes simple line-enclosed spaces with areas of hatchings. His is the metaphoric use of autumn. His figuration mixes life and decay as the two ends of a single line. At the top of the heap he often uses stylized human figures or some suggestive animal figures or some creatures of indeterminate pedigree. He brings in artefacts of a mechanical-industrial culture. His works are a duel between Nature and industrial landscapes. D. H. Lawrence’s Lady Chatterley’s Lover portrays the joys of Nature and ugliness of crass industrialization. Mantra like Lawrence brings in the joys and warm life-colours of Nature and autumn by the contrivance of subtle, suggestive eroticism.
Mantra’s device of life through eroticism and decay through totemic teeth jutting faces is excellent depiction of autumn. As said earlier autumn and its warm and blood red colours symbolises life and joys as we as vanishing of the existent. Mantra excels in handling both with felicity.
Victor Vijay Kumar
About the Author
Viktor Vijay Kumar
Painter
Director and Curator (India Asia) European Artists Association Velbert Essen Germany
Fine arts—painting, assemblage art, autodidact.
Worked in ateliers with Late Prof. Klaus Neuper, Neurmberg; Georg Brandner Leoben Austria and Wolfgang Brenner Westphalia Germany
115 solo/group exhibitions of which 56 abroad including Germany, Austria, Finland, Slovakia, Hungary, Turkey, Czech Republic, Poland, Romania, Singapore Italy and U.S.A.
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