कला विमर्श Kala Vimarsha
कला विमर्श एक मंच है कलाओं और विचारों का। इस मंच से हम हिन्दी और अंग्रेजी के साथ ही अन्य भारतीय भाषाओं में भी सामग्री देने का प्रयास करेंगे। सम्पादक : वेद प्रकाश भारद्वाज Kala Vimarsha is a platform for art and thought. we try to explore it in different Indian languages. All artists and writers are invited to share informations and thoughts. please mail all material text and images. my email ID is bhardwajvedprakash@gmail.com Editor : Ved Prakash Bhardwaj
Friday, 25 October 2024
Structures: solo show by Somenath maity
Monday, 12 August 2024
रंगों रेखाओं का संगीतः उमेश कुमार सक्सेना की कला प्रदर्शनी
Friday, 12 July 2024
अशोक भौमिकः श्वेत-श्याम की स्वर्णिम आभा : डॉ. वेद प्रकाश भारद्वाज
Saturday, 26 February 2022
कला का होना
कला का होना
कला अब होने में नहीं है बल्कि उसे कला प्रमाणित करने की सफलता में है। और यह सफलता अब रचना पर नहीं अन्य दूसरी बातों पर निर्भर होती है। अवधारणात्मक कला रचना के वस्तु-तत्व में नहीं विचार में होती है। एक कलाकार अपने विचार को किस तरह और किस रूप में प्रस्तुत कर रहा है, और वह रूप क्या किसी तरह का सौंदर्यबोध रखता है, अब इसका कोई अर्थ नहीं रह गया है। कला उस विचार में है, अवधारणा में है जो कलाकार के मन व मस्तिष्क में है। यानी कला अब एक भौतिक तत्व की जगह वायवीय हो गई है। हालांकि आज भी कैनवास, शिल्प आदि का महत्व समाप्त नहीं हुआ है पर कला में अन्य रूप और प्रदर्शनों का दस्तावेजीकरण अधिक महत्वपूर्ण होता जा रहा है। इसे हम सुबोध गुप्ता, सुदर्शन पटनायक, रियाज कामू, जितिश कल्लात सहित तमाम कलाकारों के काम में देख सकते हैं।Saturday, 24 April 2021
A view on the art of Ambadas Khorbogade
Occur - search – surprise
A view on the art of Ambadas
Ved Prakash Bhardwaj
It has been very difficult for me to
say or write anything about the art of Ambadas. It is very difficult to express
his creativity in words. Young artists are often questioned about his
technique. Many even tried but could not succeed. Each artist develops his
technique with his mental and emotional abilities, but he also knows that
technology does not make art. Yes, we can say that Ambadas practiced his
technique in the same way that a saint practices mantras.
Ambadas Khorbogade has been famous for
his unique technique and his impact. Born in Akola, Ambadas taught art at Sir
J. J. School of Art. He was one of the founders of the group1890 of artists.
For Ambadas, art was both simultaneous and performed. Understanding life in its
depth, playing with it, and then mixing it all together was an artistic treat
for Ambadas. Art is a kind of game of lines and colors, through which he used
to see life in a new way and in totality. Nothing was empty for him anyway. He
used to say that everything is full and that is why he used to take art as a
gaiety. Creating representative or descriptive pictures would rarely have been
his goal. He was a member of ‘group 1890’ a group of non-figurative artists
formed in 1951. Art was a constant discovery and wonder for him. And this
discovery used to go on every day. There would hardly have been a day in his
life when he would not have created anything. He used to draw when he was not
painting. With the dance of the lines, his pen used to move from one end of the
surface to the other, sometimes with more and less pressure, giving the
impression of shapes that can be called biological shapes at first sight. On
looking at his sketches and oil paintings, it seemed at first evidence that the
fractured human beings are floating in the air, being weightless and
disoriented by their weight.
In his oil paintings and sketches, the
linear movement in undefined but few visible shapes is converted into creative
energy. The dynamism and weightlessness of the shapes in his paintings can be
called a blissful transformation of liberation in a way. As if life group is
dancing in a fixed range, canvas and paper border. It has many forms, all
different but still one. The contingency of the shapes was his pictorial
language. It was a language that can be said to have opened the philosophical
side of life.
There is no doubt that he did not give
any kind of descriptiveness to his creation world, yet his abstract shapes
reflected human shapes. The reason for this was probably that they considered
art not separate from life, but with it. That is why for him art was a kind of
euphoria. He kept creating the world, not in its evidence, but its real
essence. Here he has lines and brush strokes parallel to each other, sometimes
cutting each other, sometimes dark, sometimes lightly overlapping each other,
as if they are hugged.
There was no place for the formal
discipline of picture composition in his creative world. There was no place for
formalities even in his life. Whenever he used to come to Delhi, I would often
meet him in some art gallery. Without any formality, he used to meet everyone
as if they were old acquaintances. From his art to contemporary art, he kept
talking informally many times. Seeing and appreciating the work of young
artists is one aspect of his character that made him comfortable with all the
artists.
The rotations in his paintings and
illustrations and the light-colored weights reminded some of the kinetic art.
He may have studied kinetic art during his travels abroad and had some
influence on him, but his work had a deep connection with Indian cave paintings
and tribal art. The abstract shapes in his paintings resemble paintings carved
by an anonymous artist in caves or a surprise prodigy of a tribal artist. And
this is also natural because Ambadas himself used to call art a surprise
discovery. He said that art is a quest that rarely ends for me. Once in an
informal conversation, he said that for him art is a continuous journey in
which he keeps trying to find something every day.
The subject and element had no
importance in his art life. An element or other shape was like a point of
departure from one place to another. To understand his art also, we have to see
what has happened between these departure points and what is going to happen.
His paintings can be called explosions of energetic power in a way. He was
deeply obsessed with the final image in his paintings. By the way, every artist
keeps but with abstract painters, it also happens that they are not very sure
about the final result in painting, but it was not so with him. Looking at
their pictures it seems as if they were painting knowing the conclusion. Even
upon entering his art world, we find that he is practicing the same shape by
repeating at different levels, like a saint doing holly practice while
continuously chanting the same mantra. His paintings also feel a kind of
texture. He converted lines and textures to a shape like a weaver. This was
probably because he was related to the weavers. He worked with them.
Tuesday, 17 November 2020
अंजुम सिंह की कला
अंजुम सिंह की कला
(यह लेख 2005 में युवा कलाकरों पर लिखे एक लंबे लेख का हिस्सा है जिसमें मामूली
परिवर्तन के साथ प्रस्तुत कर रहा हूं। -
समकालीन दुश्चिंताओं की अभिव्यक्ति है अंजुम सिंह की कला जिसमें पानी की काली बोतलों से लेकर रोजमर्रा काम में आने वाली चीजें और उनके अक्स उनके काम को नये अर्थ देते हैं। शांति निकेतन में पेंटिंग की शिक्षा प्राप्त करने के बाद उन्होंने कोनकर्न स्कूल ऑफ आर्ट वाशिंगटन, अमेरिका में कला की शिक्षा प्राप्त की। अमेरिका निवास ने उन्हें कला को जीवन के और निकट ले जाने का संस्कार दिया। उनकी कृति "बंपर टू बंपर' जहां महानगरीय जीवन की एक प्रमुख समस्या यातायात जाम की अभिव्यक्ति है तो "वार्मी वाटर' जल प्रदूषण एवं संकट को नये अर्थ प्रदान करती है। "स्पिट' और उसके बाद "स्पिल' (विभाजन/विस्तार) समकालीन जीवन में सामाजिक एवं मानसिक संकटों को व्यक्त करती है। "कोला बूम' और "पेस्टल ऑफ प्लास्टिक' (इंस्टालेशन) भी आधुनिक संकटों की अभिव्यक्तियां हैं।
अंजुम सिंह के काम को हम जीवन की प्रतिक्रिया कह सकते हैं। दैनदिनी अनुभवों को वे अपनी पेंटिंग और इंस्टालेशन का आधार बनाती हैं। कुछ लोगों को अंजुम का काम समझने में दिक्कत होती है फिर भी वे उसके दृश्य-प्रभाव को ग्रहण करते हैं। अंजुम के काम में जो सामाजिक सरोकार हैं, वे भी लोगों को आकर्षित करते हैं। कम उम्र में ही अंजुम ने कला को सामाजिक चेतना से जोड़ना शुरु कर दिया था और इसीलिए उनसे और भी अच्छे और सच्चे काम की आशा की जाती रही। यह कहना गलत नहीं होगा कि उन्होंने इस आशा को भरसक पूरा भी किया। हालांकि कई बार उनका काम अमूर्तन की दिशा में अधिक बढ़ता लगता था, विशेषरूप से उनकी प्रदर्शनी "स्पिल' के काम में, पर वे अपनी बात को देखने वालों तक पहुंचाने में सफल रहती हैं। किसी तरह के सच का बयान का उनका दावा नहीं था। वे कहती थीं, "सत्य कुछ नहीं है, जो कुछ है वह केवल अपनी-अपनी व्याख्या है।'
अंजुम बहुत अधिक काम करने में या बहुत प्रदर्शनियां करने में यकीन नहीं रखतीं थीं। वे कहती थीं, ‘मेरा यकीन अधिक काम करने या अधिक दिखने में नहीं है। जैसे-जैसे आप बड़े और परिपक्व होते जाते हैं चीजों के प्रति आपका दृष्टिकोण भी बदलने लगता है। जैसे आज मेरे लिए सृजनात्मक संतोष अधिक महत्त्वपूर्ण है बजाय अधिक काम करने के। इसका मतलब यह नहीं कि मेरे लिए प्रदर्शनियां कोई महत्व नहीं रखती हैं, दरअसल मैं जब तक काम को प्रदर्शित नहीं करती जब तक कि मुझे उससे संतुष्टि न हो जाए।’