Monday, 31 December 2012

More then 10 yr : It’s a flow of visual energy through various modes of reflection tracks...

Tathi Premchand like a free flowing river, twists and turns and touches upon every wild and calm coast of visual expression. He has established himself as an artist and now its more ten years in the line that he has started from a restricted channel to wide current of flow.                                  


Black and white : Oil colour on canvas : 1994
It is very interesting to note the development or progress of his painting style, mediums and themes. His nature of being articulate, never brooding attitude, eye for details, observing and learning from real life situations have influenced his painting series’. His earlier work is compiled in his coffee table book, named ‘Pomegranate’; it’s a series which deals with basic nature of man and woman. Pomegranate series contain sketches of ‘snail’.              
Running from Home: charcoal on paper : 2001
                                           

Snail is a metaphor of human life. It represents the process of fetus being ready to enter this world. Like, in ‘Run from Home’, a shell is seen living shell. Shell is the protective, secure shelter for tender snail, so also a mother’s womb for her child, but as both come out of their secure abode, both has to protect themselves from the dangers of this world. The end is unavoidable. Innocence is lost in the battle survival instinct. 

To bifurcate the human tendencies and especially between male and female; the series is followed by characterizing each of them. Women as one of the recurrent theme, is shown in various roles that she plays in her real life The look and physical presentation portrays her as indomitable personality, well aware of her sensuality, affectionate attitude and power to win the situation by hook or crook. The nudes of women in the series do not show her as reticent but a confident woman. Like in ‘Sweet knife’ which reminds us that right from the birth bosom is 
inseparable from life.
Sweet Knife : Acrylic colour on canavas : 2002
                                         
It has magical, soothing charm for a child as well as grown up. On the other hand ‘Woman with knife’ is an excellent work of woman being a sweet poison posing sensually for selfish motive. The bleak side is painted in ‘Seven Desires’. She has many expectations from her man, but has to be satisfied with whoever is her partner. But there is always a prince charming; he is shown riding on a white horse, portraying her unfulfilled desires. Along with, Tathi also paints ‘Motherhood’, a very possessive and emotional nature of any and every woman.  So for Tathi she is sharp as a knife or blade, piercing like (safety) pin, she is cutting edge scissor, a toy duck, protruding end of every other soft toy or every character that we think of.                                           
Love of Mother Series  : Acrylic colour on canavas : 2004
                                            
Women is followed by Man. Man is portrayed using blue color and peacock. He is shown in his best in nude; always charming and attractive. Tathi feels that male is more attractive than female. The sketches and paintings are simple and do not have any unfathomable meaning. According to him male’s tall, robust and attractive self and sensuality of woman always attract and repel each other. They work as two blades of a scissor, which if separated are of no use. The attraction and repulsion keeps life going on. 


Man Man Made : Acrylic colour on canavas : 2004
                                           
Moving further, Tathi started working upon more socially concerned theme and in that, first was to deal with ‘cruel and cruelty’. The brutality of human on weaker sections and even dumb animals, the sacrifice of innocent animals all are boldly expressed in his works. In one of the work ‘Human Conservation’ man makes rabbit a meal of panther, an example of brutality against animals. Moving further in ‘You and Us’ and ‘Any answer please’ was the visual statement on then on going war between America and Iraq and the brutality that common man had to face. The false pride and ego to excel are considered responsible for havoc in the world, disturbing the peaceful existence. 
After chaos, there dawns serenity and peace in his ‘Ananda’ series. 


Ananda : Acrylic colour on canavas : 2004
                                            
Brown, black and white colors are highlights of this series which depicts Nirvana or Nothingness. The stage of attaining eternity, the beauty and depth of the subject is intensified with the mystical style; faces are blurred and flowing robe act as catalysts. As Buddha always said, do not follow me but follow your own conscience, ,in ‘The wall’ wall is the ego, the blind faith and restriction of personal contemplation which should be broken to transcend from materialistic thoughts to spiritual ones. Then there are fables of Ananda that Tathi presents in visual forms.


Mohandas Karamchand Ghandhi : Acrylic colour on canvas : 2006
                                            

By 2008 Tathi transcended to wider platform to notice the changes that take place in society due to technological development and political fervor. He continued working for about three to four years on two series consecutively. The two series simultaneously deal with political and technological progress. As two sides of same coin he shows the development of rise in standard of living for some and curbing hopes and desires of survival of the poor labor class. The series were names ‘Indian Mathematical Ruler I’ and ‘Indian Mathematical Ruler  II’ 


Who Let the Dog :The Indian Mathematical Ruler- 1 : 2005
                                         
These series speak for people, places and conditions found around us. The colors also speak of emotions and there is deliberate use of particular color scheme which changes in every frame to create a lasting impact. The sarcasm of Indian political scenario is subtly shown in paintings with Asoka pillar and Ambassador cars in place of horses. Ambassador car, representative of politicians in paintings, is shown as proffering benefits to the possessor, just like the cow for its owner. He pin points the worst affected, the labor class who had to lose their wages to the mechanical world. The Ambassador car is seen in various angles being present at the places which would help gain huge monetary gains and mostly in industrial zones.


God of Small things : The Indian Mathematical Ruler - 2 Acrylic on canvas :2007
                                            
The color red is hyper sexual urge. Different colors and style of headdress represent people from different communities. The Ambassador car is seen in various angles being present at the places which would help gain huge monetary gains and mostly in industrial zones.
These two series have to be contemplated together as there is a very thin line that discriminates them but every work has different guideline to follow. His paintings present gauche ideas in convincible manner. The painting of welcoming of every one despite of any caste or creed, at Red Light Street is the reality. It makes one wonder whether it is a sign of brotherhood! The apathy of non- reaction to destruction of evangelist, the Lord Buddha's statue in Afghanistan is a clear indication of indifferent attitude to preserve the best. The confusion and chaos is compacted to busy street in Mumbai.
The works records true face of civilization. It constantly fluctuates like the under currents in river but what remains obscure is the motive.


Open Heart for earthworm: Acrylic on canvas 48x 96" 2008
                                            
Then follows ‘Open Heart for earthworm’ in which Tathi has comes a long way in his creation of artworks. His horizons seems to expand and even though the concepts were still grooved out of realism here we find him representing the series in more advanced manner and experimenting in  photography, installations and merging the mediums of expressions. It visually and ideally seems to be more matured work and speaks of contemporary situation in sarcastic, humorous and satirical manner. His work is based on the back drop of current issues and problems faced universally. It speaks people’s mind, not just to make aware of reality but make people think over it again and again; it stimulates to evoke reaction in the minds of observers.  The works not only appeal the thought but evokes reaction in mind of an observer. The name itself suggest sarcasm. It represents Government apathy to disheartened public. The public is represented n the form of an ass. Political leaders do make an ass of people and let them bray for their rights which are cleverly and clearly ignored by the people in power. Gandhism is used as a weapon of ruling class which acts as a catalyst in reducing the pain and suffering. 


The Indian Dhobi : Digital print on Eco - Fine paper : 24x36 ' :  2009
                                               

In the recent years, Tathi concentrated on Mumbai city and has offered his best tribute to the city folks through his work. His work ‘Indian Dhobhi Ghat’ and  ‘Clip Hanger’ are sharp knives cutting through the saddening reality of Mumbai dweller, whether the original folk or the migrated folks. He has been living in Mumbai since twenty years and has seen lot of changes since then. Like any layman in the city even Tathi travel regularly by train and moves around in the most busy yet reputed areas in Mumbai. Local trains provide him a lot of material to paint. 
Clip Hanger Body : Digital print on Eco - Fine paper : 24x36 ' :  2010
                                                         
‘Clip Hanger’ are entirely his eye witness of places and situations in Mumbai. The works are unique in itself as they are the blend of modern technique and ancient features. He confidently ventured Digital Art, and by revolving the images in all direction gave it a kaleidoscopic form where bits and pieces of life are reflected off tiny mirrors to create beautiful, mandala-like images that shift and change, depending on where you point it. Tathi’s images are visually striking at first glance. Then, as you move in to look more closely, you begin to see the bits and pieces of life from the artist’s native India that give this work its power and depth. According to Tathi “You can see this same kind of visual imagery in Buddhist and Hindu temples in the form of murals and divinity paintings,” 

Indian Dhobhi Ghat is the visualization of a huge public laundry which is next to Mahalaxmi station and lovingly called – Dhobhi Ghat. It is not a huge,
grand structure made by any ancient king or reputed business man of modern day, it’s a simple structure built for washing clothes. The clothes are brought there from all over Mumbai. He highlights the precision, time-management skill and logistically well organized working system of these illiterate yet seasoned workers. It’s organizational set-up is nothing less than the curriculum learnt at the reputed management institutes. Only differences between white collared jobs at management level and this age old attraction is the outer appearance and educational degree, else the aim of profession for both is- Perfection.
                                        
(Recent Drawings by Tathi Premchand- Mumbai)

Tathi says “This Dhobi Ghat is a kind of institute for me.” He analysis this throughout the series and presents it as a learning centre. 
Every bundle of clothes has an identity mark of the supplier or the main laundry from where it is brought here. But when opened and left scattered all the clothes and lining are dirty and crumpled which have to be laundered to look clean and be ready for use again. For this process a dhobi or a washer man doesn’t need a degree or big fat books to update his knowledge; everyday practice and sound knowledge of colors, clothes and their longevity guides him to handle each of them carefully. That's great! It’s metaphoric representation of today’s society.
The place rises rhetorical question to one grave thought that personality (here artist deliberates on corrupt and vice person who have clean image in public) is projected in their clean and stainless dress code. Times have changed corruption has entered the very root of the society. Every field is tainted. Is there any one to play the role of washer man to clean our souls? We all are waiting for the Godot and hope he comes.Tathi wants to preserve and make this site know to people from every nook and corner of the world. This series is his heartfelt attempt. There is a maze effect where a novel person ought to get confused and missing. The photographs of actual site with washer men and the work process, the water outlets and inlets work as energy to revitalize the shine of clothes which can also mean that there should be some system in our society which would drain off evils and bring in purity and goodness of thoughts and actions. And this is not limited to any particular strata of the society but to every global citizen.

Tathi says “I wish to make this place and the artisans here immortal. Like the washer men who clean the clothes, let our souls be cleansed too. As they handle each cloth without bias, so let our political theory be- equal justice to all. There is some power in their skill that people prefer to wash their dirty lining here than washing it in machines. Doesn’t this subtly mean cleansing society and self in most natural way?”
Artist 

This unusual place of muse speaks volumes about society itself right from ancient times to modern day. In brief, washer men for dirty linings…anyone to cleanse the dirty souls? 


Clip Hanger body series highlights the people-filled local trains of Mumbai. Traveling in the city’s trains, clicking images at random, Premchand found a particular theme that captured his imagination: he noticed how people seemed to calmly “hang” from the clips, or handles, as the train traveled from station to station. Tathi saw these travelers as almost immune to the noise, the smells and the uncomfortable jostling as the train takes on more passengers. It’s as if upon entering the train, passengers are lulled into what Premchand imagines as their mutant selves – into “Clip Hanger Bodies” – as they peacefully make their way throughout the city of Mumbai. They seem to put all the weight on that little handle and relax in rush and crowd. It reminds of the disturbed child who finds comfort and solace lying on mother’s lap. Every person is in his world of thoughts. Some people find it a place to chit-chat and gossip, vent out their furry on other fellow travelers and yet there is feeling of unity in helplessness. Mumbai local is a true representation of  city’s spirit.
(Recent Drawings by Tathi Premchand- Mumbai)


 
Tathi Premchand presents Mumbai as an ever-changing city and despite cultural, economical and political influences, it has the fortitude to bear the changes and yet establish itself firmly as a city of importance. His imagery is beautiful and mesmerizing but at the same time carries a much deeper message for those who take the time to look more closely.


He cleverly juxtaposes the images. Art critic Shramista Maiti analysis that he captures  the spirit of being and joy of freedom by juxtaposing the photographic images of the travelers moving inside the local train as ethereal subjects. Thus each digital painting/print on archival paper is an ensemble of elements that resemble human bodies but give the feel of ethereal beauty as if music in the air; ripples of the water, mysticism of Sufi songs and so on
Technically this series is developed by using graphics software, he creates three more images of the same photograph but in three reverse directions – one just 180 degrees upside down, one 90 degree turn to left and the third one is 180 degree reverse of the last one. And then he combined the original image and these three images together as required creating the ethereal pattern as if reflections of human body floating on a surreal plane.


                                            
‘India's Koodafication on Moon’ is also created in same manner and deals with the problem of garbage that is collected in the galaxy due to remains of satellites and rockets’ and  which cannot be cleaned up. They float in the atmosphere, thus polluting the sky. The creation is visually appealing and makes observer worry about the future of the Universe. The most delightful matter in pursuing such creation as Tathi himself states, “You are not aware of what you are going to create quite consciously. What happens is in a flow things start falling in place. And at the end you can see something that you would have never thought of creating. Well, that’s the magic of creation and the potential of the digital medium and artists with a freaky sense of adventure like me would just love to do so…”

After capturing all the hurries and worries of everyday life, Tathi escapes in the relaxing and joyful atmosphere of Goa, sketching the most luring and appealing scenes right from sea side goa every day life, But that is just a temporary change. Even though it is very relaxed involvement...





(Recent Drawings by Tathi Premchand- Mumbai)
he is surely thinking of exploring new shores, because he has himself proved since in his ten years work  that ‘one cannot step twice in the same water’ and has always been trying to present his concepts in novel and striking mediums. He already start  work on installations, huge canvases or sculpting that be processing coming years. But one thing is sure he wants to go global and showing his art in every living conman human life from where artist live - Pankaja JK

Thursday, 13 December 2012

Fabulous work R.B.HOLLE!


Joy and pride again taps the door of Visual Art as R.B.Holle is conferred with the National Award of year 2012 in the field of Visual Art. Dedication and passion is respected and honored by our nation.
Keep it up Holle! May you always shine…not only shine but shine brighter!

Wednesday, 12 December 2012

CONGRATULATION RAJ MORE!


It’s news of great pride and joy that Raj More has been conferred with the National Award this year in the field of Visual Art. I personally and as a part of Art fraternity congratulate him and wish him bright success in his creative path ahead!

Great Achievement Raj! Keep it up

Thursday, 6 December 2012

Chandrakanth Ganacharya new installation review by Pankaja JK





( Artist Chandrakanth Ganacharya)

As an artistic endeavor to present my concept of ‘Triumvirate’, I have tried to portrait three revolutionary giants who had identical essence of bringing in the

changes for the good of society but there was an apparent difference in their outlook or approach. They acted as pathfinders on the path of evolution.

Gandhi’s non-violent ways, Che Guevara’s fighter’s spirit and Picasso’s non-verbally grabbing the liberty of self expression through Art, make us realize the different channels through which a single idea can be worked upon. They were grooved by social, political and cultural back ground or nature of the society that they lived in and experienced. But I feel that the ideals put forth by these three men are very progressive and inspiring even in this era. The common factors for their revolutionary advent were their sensitivity towards injustice, lack of brotherhood and denied freedom rights; and that is why I have brought them together on one platform to show their revolutionary resemblances in diversity that speaks the mind of every human being around the globe. I have tried to keep up the spirit and feeling of various evolution practices that human nature possess. Through the visual expression and a dialogue with the viewers through visual language, 

I wish to achieve my aim of communicating my motive behind these portraits. To create the greater impact of the images, I have used pixels. As per my experience in Print Media I know that pixels play an important role in clarity of image so I used wooden rods to create pixels and extruded the pixel’s level along with the appropriate use of colour composition for the best resolution. The confidence and resolution on their faces is highlighted and so also my intention of portraying them. I hope the installation is appealing to you as it is to me.



Friday, 30 November 2012

Subodh Kerkar: ‘Pepper Cross’ Berlin Germany 2012-2013 As reviewed by Pankaja JK.


Vast sky, Stretched water…

Making the canvas of my vision brighter and broader




 Copyright ©Prasad Pankar Photographer
Subodh Kerkar’s ‘Pepper Cross’ exhibition at Berlin was a perfect representative of historical reference to amalgamation of cultures and he traces the very roots of its cause- The life giver and speechless communicator- ‘Water’- stretched Seas and vast Oceans which were and will always be instrumental in changing the face of world. . He visualizes the ingression of alien culture into a particular land and how the people get influenced by it. For him ‘Goa’ an Indian state stands as the best example to support his observation. As Subodh Kerkar hails from Goa; the land of beaches he is always fascinated by its vastness, and may be the character to embrace the non-ending horizon. He rightly points out that civilizations nurtured and developed along the coast and long stretching oceans were basically responsible for spreading culture, exchange of knowledge. He has amplified the concept by concentrating on culture brought in Goa by Portuguese and with their stay here for almost four decades made such a deep impact that the whole culture of Goa changed and today it is known by the identity developed due to Portuguese influence. Goa was one of the typical Indian states before the advent of Portuguese adopted the Western influence and religion (i.e. Christianity) and today it is famous for its westernized character. And when I state Goa having ‘Western character’ it includes even the culinary ingredients which is the topic of interest of ‘Pepper Cross’; new ingredients added to food items, revolutionized Goan kitchens and food habits.  Chilies, tomatoes, potatoes, pineapples, cashew and many other fruits and vegetables were brought into the country. The techniques of baking bread and distilling spirits were introduced. A variety of mangoes were grafted.  Umpteen other culinary novelties were introduced.




Portuguese came to India for taking over the pepper trade from the Arabs and spreading the Christian faith. They were successful in their mission and steadily they colonized Goa and stayed here for more than four decades. Today more than half of the population follows Christianity and the culture they brought in. To symbolize their rowing in basically for trade intentions and spread of Christian religion and apparently the new culinary methods introduced in Goa is all beautifully presented in sculpture ‘Pepper Cross’ using the one hundred years old hull of a fishing boat and a pair of oars to make a Cross pepper itching on it. There are also chilly and bread sculptures which are now a part of regular diet in Goa and all over India.  Though ‘bread’ was rejected as apart of main course by earlier Hindu community because according to them it was not a fresh preparation and made with fermentation process; but the same bread has become important part of even morning breakfast for almost all the people of all religions, apart from Christians. This deliberates on the fact that India has a natural tendency to adopt and covet different religions and cultures that came in India through cross-border connections either forcibly (like European who colonized India) or through trade intentions.



He also gallops down the memory lane by creating an installation of horseshoe patterns on the shores of Goapattanam using shells collected from the same beach. The beach was a major port in carrying out the horse trade between India and Arabia. Later this port was silted but relics of its dock still remind the past and Subodh’s photograph of that installation refreshes the history. His site-based artistic output is a rock smeared with ‘Indigo’. Indigo was all time favorite pigment and this is extracted from a plant Indigofera tinctoria and related species. India grew indigo ever since the Indus Valley civilization, 2000 BC and was the main commodity of export. Subodh states that it was an important part of the cargo on the Caravellas, sailing to the west through the blue waters of the Indian Ocean. So again he highlights importance of ocean in trade and Indigo color as important commodity of trade. The sculpture of ‘cotton-pod’ projects the creative handicraft technique of knitting tablecloths, bedspreads, etc. with thin threads of cotton was introduced to India by the Portuguese.




To sum up, ‘Pepper cross’ highlights the cross-pollination of cultures and subtle ties between various cultures of world and India and Subodh’s photographs, sculptures and installations draw attention to it. It is a unique style of work where instead of traditional method of capturing landscape and seascape on canvas, he uses sea and its surrounding as the base for his imagination and creation. The things with which we are familiar make us contemplate about their very existence in our lives and the exhibits play a role of visual history at large.   Vast sky, Stretched water…


Making the canvas of my vision brighter and broader…Subodh Kerkar’s ‘Pepper Cross’ exhibition at Berlin was a perfect representative of historical reference to amalgamation of cultures and he traces the very roots of its cause- The life giver and speechless communicator- ‘Water’- stretched Seas and vast Oceans which were and will always be instrumental in changing the face of world. . He visualizes the ingression of alien culture into a particular land and how the people get influenced by it. For him ‘Goa’ an Indian state stands as the best example to support his observation. As Subodh Kerkar hails from Goa; the land of beaches he is always fascinated by its vastness, and may be the character to embrace the non-ending horizon. He rightly points out that civilizations nurtured and developed along the coast and long stretching oceans were basically responsible for spreading culture, exchange of knowledge. He has amplified the concept by concentrating on culture brought in Goa by Portuguese and with their stay here for almost four decades made such a deep impact that the whole culture of Goa changed and today it is known by the identity developed due to Portuguese influence. Goa was one of the typical Indian states before the advent of Portuguese adopted the Western influence and religion (i.e. Christianity) and today it is famous for its westernized character. And when I state Goa having ‘Western character’ it includes even the culinary ingredients which is the topic of interest of ‘Pepper Cross’; new ingredients added to food items, revolutionized Goan kitchens and food habits.  Chilies, tomatoes, potatoes, pineapples, cashew and many other fruits and vegetables were brought into the country. The techniques of baking bread and distilling spirits were introduced. A variety of mangoes were grafted.  Umpteen other culinary novelties were introduced.

Portuguese came to India for taking over the pepper trade from the Arabs and spreading the Christian faith. They were successful in their mission and steadily they colonized Goa and stayed here for more than four decades. Today more than half of the population follows Christianity and the culture they brought in. To symbolize their rowing in basically for trade intentions and spread of Christian religion and apparently the new culinary methods introduced in Goa is all beautifully presented in sculpture ‘Pepper Cross’ using the one hundred years old hull of a fishing boat and a pair of oars to make a Cross pepper itching on it. There are also chilly and bread sculptures which are now a part of regular diet in Goa and all over India.  Though ‘bread’ was rejected as apart of main course by earlier Hindu community because according to them it was not a fresh preparation and made with fermentation process; but the same bread has become important part of even morning breakfast for almost all the people of all religions, apart from Christians. This deliberates on the fact that India has a natural tendency to adopt and covet different religions and cultures that came in India through cross-border connections either forcibly (like European who colonized India) or through trade intentions.


He also gallops down the memory lane by creating an installation of horseshoe patterns on the shores of Goapattanam using shells collected from the same beach. The beach was a major port in carrying out the horse trade between India and Arabia. Later this port was silted but relics of its dock still remind the past and Subodh’s photograph of that installation refreshes the history. His site-based artistic output is a rock smeared with ‘Indigo’. Indigo was all time favorite pigment and this is extracted from a plant Indigofera tinctoria and related species. India grew indigo ever since the Indus Valley civilization, 2000 BC and was the main commodity of export. Subodh states that it was an important part of the cargo on the Caravellas, sailing to the west through the blue waters of the Indian Ocean. So again he highlights importance of ocean in trade and Indigo color as important commodity of trade. The sculpture of ‘cotton-pod’ projects the creative handicraft technique of knitting tablecloths, bedspreads, etc. with thin threads of cotton was introduced to India by the Portuguese.To sum up, ‘Pepper cross’ highlights the cross-pollination of culture



(Subodh Kerkar working at studio- Goa- India)

Tuesday, 27 November 2012

The Papper Cross going Berlin by Subodh Kerker : Pankaja JK review coming soon


Monday, 26 November 2012

Archana Mishra : Print



We naturally associate with varied expressions of nature and likewise nature also assimilates us in its varied forms in such a way that we cannot hold back ourselves from experiencing it. I always project these expressions in my creations and to paint it in identified and unidentified images according to their characteristics is my all time furor and contemplating and painting this vastness in a unique manner thrills me. So by painting my turbulent emotions and calming my inconstancy of mind on plain canvas, I also aim to liberate myself. To portray my very own talismanic world and to live in its celestial impact, bestow me a new persona and that is the sole reason why I am forever ready to integrate this whole world in its charisma... Archana Mishra



Copyright © Archana Mishra





(Copyright © Archana Mishra)

                                                            


“My sculptures are the first hand experiences of vast social environs…”

Parag Tandel on his sculptures and installations.
   
Parag Tandel is a thoughtful and concerned artist who is involved in many nature and social awareness programs. His work is not only an expression of first hand experience of the society from where he hails (he belongs to fishermen folk from Thane, near Mumbai) but also his everyday travel experiences. His site-based works also deal with serious issues of destruction and apartheid behavior against the victims of nature and poverty. In one of the installation he also highlights on innocent beliefs of people which can also be termed as blind belief by intellectuals. But whatever it is, it the faith of people that he highlights. I spoke to him on almost ten of his sculptures and installation and he justified every work with relevant reason. I wish to give the account in his own words that magnify his say. 

JK: Tell us about your sculpture and installations.
P. T: I established my self as an artist in 2005  and since then involved myself in various visual art expressions. Since beginning I am interested in sculpture and installations based on meticulous observation and research. My sculptures and site specific installations are the social dialogues and globally concerned topics. I aim to bring to notice public ignorance towards society and nature and its severe effects on every living being on the earth be it flora, fauna or human beings. For me “Concept is common but creating it in my own language of image is very important ". As I grew up and was drawn in complexity of society and its environs; I became mentally and physically mature and realized the gradual but obvious changes in me. I found the Art as the only way to express my concern and passion. I became instinctive and understood that art is not just for expression of beauty but for the social cause too; developing concern and awareness for environment around us and started experimenting in various mediums. I was also lucky to be successful in actually presenting my imagination into reality and making use of commonly found, low or no cost materials like, wood, rubber, clay which are many a times discarded materials or objects in junk yard, since I believe in showcasing my concept in minimum cost and simplicity.  

My sculptures are the first hand experiences that I have while at home, with family and friends or even out there in vast surroundings of my social environs. These all give an artistic expression to my creations. My confidence in my imagination initially resulted in two exhibitions called Pregnant Room 1’ and ‘Pregnant Room -2’ respectively. In pregnant room – 1 I have dealt with the experience of walking and excessive walking that leads to blister on feet. I have applied reverse theory on floor that, because of constant walking on it, it gets blisters on its surface. I have specifically kept in mind the busiest platform of CST railway platform, which had worn out and is now modified. I applied the human character of developing blisters due to constant walking for long hours to this inanimate platform which has been used by commuters and goods carriers on railway platforms since very long time. In this Wood, Rubber, FRP combines to create sculpture laid on the floor. Through this air bubbled rubber sheet that lay on the floor, I wanted the visitors to experience the touch of sensitive and frail blisters and so let them walk by stamping on these protrudes. But even the thought of it being skin and blisters prevented some of them from walking on it. I think this was the real success of my creation to produce the desired effect in minds of observers.

People have reviewed these sculptures as familiar and enigmatic which are also simple and complex at the same time. I am happy with there feedback as many a times they are true to my intention of creations. There is a step beyond self-expression, a social consciousness as generally I suppose Art can instill a sense of connectivity to our environment. Sculpture can interconnect the realms of art, science, nature and humanity.
(Recent work Parag Tandel)

In Pregnant Room 2: III Sculptural Installation, I experimented with Rice flour bread (rotis) incased in
resin, thread and straw mat and created a wall sculpture which is nostalgia of my mother preparing
these rice flour breads and selling it to earn money for family. Though we had a family profession of fishing, due to worst conditions in this field, my mother and other our folk women were compelled to leave this profession and adopt the very different way of earning means. . It was strange that a (bread) roti was sold to earn daily (bread) roti. 

Pregnant Room 2 continues as a part of In Pregnant Room 2: III Sculptural Installation, I introduced injections & hairclips with wheat flour (rotis) incased in resin, which symbolically signifies the modern method of Botox injection to increase beauty and hide the growing age and real bread which is actually helpful in being healthy and strong. But modern day elites prefer Botox instead of natural food. In pregnant room-2 V Moths around tube light which I daily experienced in my studio which is besides mangrove forest, whole year moths hover in my studio this was just an experience but I used materials which were at hand and around my daily life to share this experience. Pregnant Room 1: V is a Stoneware sculpture presenting violent city and its grueling pressures, and the fragile medium (stoneware) creates sound in it.

The instinct to present social and environmental issues triggered and became the aim of my Artistic
mission when I was personally affected by the toxics and had Tuberculosis in 2009, as I regularlyworked using harmful chemical in my studio and breathed it in and out almost everyday. I was given
the injections to strengthen my lungs and I had to go through lot of pain to recover. Feeling I have experienced when I was told to do a CT Scan. They gave me injections for contrast and if you can’t digest that contrast you get vomits, I really felt violent that time as if something is attacking on my body and
body is fighting internally in violent way to recover from external attack. At that time I realized the cruelty that we inflict on our environment and something must be done to stop or at least reduce it. So I started working on realistic concept. Pregnant room-2 II is where I have presented worn and torn foam sheet to present Lungs and how it looked after being under toxic attacks (may be by as a professional in field related to harmful chemicals or using toxic colors or it can simply be due to consuming
tobacco or chain smoking) is an installation based on this fearful personal experience.

While I have designed and installed public art projects, it is my most recent environmental designs that I wish to talk about to give an idea of how I would approach future projects from an artistic and rational

point of view. In ‘Big Catch’, I have employed background of fishing community and my family business.I have worked using the garbage or junk items that loiter in the junk yards or are randomly found on streets and in neighbor hood. In pregnant room - 2 -I I used Silicon rubber and discarded, worn out nylon fishing net. This fishing net seems to be allergic to the pollution of toxics poured in the by humans in sea. The blistered texture for the catch from the sea is developed using bubble rubber sheet and amoeba shape hanging on the wall hooked in a nail.

In 2007 as a public art project for Kalaghoda festival sponsored by Pundole art gallery, Mumbai, I had
installed ‘Unbranded guards branded’ that highlights an orthodox belief of Indians (especially followers
of Hinduism) that shows green chilies and lemon sewed in a thread and hanged at the entrance of the
house or commercial premises to ward off evil. It has always fascinated me that a security can come so cheap and considered powerful without any arms and ammunition for safety. And interestingly, every kind of person either illiterate or qualified, use this abstract, unpatented method of security and protection. In 2009 I was invited for a site specific workshop ‘Sandarbh’ in Paratpur, Rajasthan,India. Here houses were ruined due to heavy rainfall. One of the houses was in debris as the family hadleft it during the calamity. Though Government was responsible to rehabilitate them and give aid for reconstruction of house, no one and for that matter not even the local municipal office took heed of it. This was an injustice and sad state which inspired me to use this site as an eye opener towards the lethargic and careless attitude, so, as a project called “Completion of Incomplete” I cleaned the whole tenement house and rearranged everything around the house, applied cow dung and soil to makes wall better and stand and make it visible to viewers and bring to notice and make them ponder whose fault was it exactly? Natural or man imposed? Basically I like to handle the social issues and problems which do not have any specific individual creator but society and nature as whole. I also share this with thoughtful minds as I conduct workshops and brain-storming sessions to create awareness towards our environment and society that we live in.

My site specific works are closely knit to survival instincts. ‘Big Catch’ for Kalaghoda festival, Mumbai,
sponsored by Pundole art gallery in 2012 is a public art project. It is an installation based on my daily
experience of travel to my studio which is at Vitawa Thane), a starting point of fishing area. Since a few
years, as the fishermen row to find the fish in deep waters they catch more than just a fish and it is all
but garbage dumped in sea like, thermocol, plastic bags and bottles, electrical equipments, foot wear and all the waste polluting and destroying the eco-system of this area.The garbage is so prominently tucked in net that it seems to be a new species of fish. This garbage itself is the medium I have worked with.  I installed a big fish made out of worn out fishing net and all the garbage dumped in it, here I wished to present an unusual and sarcastically newly identified species of fish; dangerous fish, rather
than known ones.

Q: How would you like to enhance your work?
P.T: I would like to advent into varied communities and cultures, know the positives and negatives around the globe and present them in my works sometimes simply for visual delight and mostly to develop concern and awareness.

PK: Wish you success in all your noble plans!

PT: Thank you.