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Recent work - AKSHARA MALA |
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 | By
SURENDRAN KARTHYAYAN
The Artist to C.E. Ajith Kumar on AKSHARAMALA
I find a great transformation in the Artist through your AKSHARAMALA series of works. What do you mean? How did you arrive at this?
If you call it a transformation, I would not disagree. But I would rather term it a kind of evolution. Not that I have left behind all I had been exploring till now – the world of plants, the world of music, the world of everything that mankind love to be with. This is rather an ideological change taken an abstract form. See, an artist the world over, as a philosopher did, tried hitherto to interpret what nature created. He absorbs their innate and sublime visual output and reinvents them on his canvass. Now, I attempt to look at what man himself created. There are only a few he can claim about. Letters and numbers are great creations of man; though, even these imbibed their character and form, after a great deal of imitations of something that the Supreme Nature created and bestowed upon him. I adopted mainly the Malayalam and English alphabets and the Arabic numbers for my task. The letters of a language has a gentle touch of that Supreme Power, and when they are blended themselves into a word it transpires a great lot of images, visual cross-sections of nature. I feel it. I adore it.
Venue: Durbar Hall Art Center, Kochi
1st November to 14th November, 2009.
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But I strongly feel that the artistic scope or the spectrum of creativity of a work of art is bound by the contours of the subjects the artist chooses. If it be, don’t you feel that you are trapped in a monotonous web of unimaginative curves that are letters?
You look at my pictures one by one. You study and explore them. Can you spot at least a pair having a common stroke, a common sheath of colours, a common denominator of artistic expressions? The difference is not with respect to colour or curvatures alone, but with reference to everything that a painter hurls at the viewer – the structure, the size, the texture, the angles. Last time, I talked about the infinite dimensions that a painter intends to derive from. A work of art is nothing but the management of this choice from infinity. Here, I am to choose from the infinite combinations of painter’s craftsmanship to depict the image I sought to formulate.
But I could discern that not a single piece in this series is completely liberated from the other one. Do you agree?
Yes, it happened. Just not deliberate. I appreciate your keen observation. I should now admit, despite the infinite choices and the infinite ways in which they differ from each other, the principle of inheritance just played havoc. Each piece in this series has undergone a process of evolution, successively from the first to the second, then to the third and so on. Perhaps the last one inherited everything its predecessor did. |
