May-June 2012

ART
Tilte: Chaitya
Medium: Acrylic on paper
Size: 54 x 75 cm
Date: 2006
to accept his interpretations or the
ways – expressed in bold, bright and
simple geometric forms – reminding the
iconic works of Indian master H.S.Raza.
Sagar’s rapid journey to an entirely a
new imageries, vindicates our earlier
arguments – a creative person do need to
be dynamic.
Sagar’s works cited as examples are
‘Tatva’ – the Elements and it is based
on what he describes as the basis of
existence of the universe or a human
life as described in sub-continental or
in Chinese philosophy. To narrate it, his
choices of forms are different hues of
colors in mini-compartments- replete with
spontaneous free forms. Although the
artist likes to describe the forms as nonrepresentative,
his compositions do stay
as a metaphor what he describes. And it
conveys a strange message – seeking to
mesmerize with the sweet color scheme.
REDEFINING NATIVE FORMS
An entirely a new thinking has inspired
Sushma Shakya to explore in her paintings.
She remains our concluding example
of new generation with a will to explore
differently. In Sushma’s works, it is obvious
her interests converged on ancient motifs
found in earlier architectural objects- like
stone water spouts. She re-envisioned
her own forms over it and presented
before the viewers. In other words, she
re-visualized so that a viewer can share
and re-imagine as she did in her paintings.
To make her point, she has chosen a set of
motifs including the water ripples and the
floral waves: and she seeks to captivate the
viewer to stay for some time with her newfound
embellishments.
DIVERSITY ENRICHES ART
From the four selected examples cited
here it is hoped, a reader would have a
general idea how the Nepali Painting is
being shaped today. And it should also
be obvious now how an important role
is being played by the younger artists
backed with the diverse in thoughts and
forms - in making a new history. Unlike in
the past when artists are usually stuck in
one’s signature style for ages, the newer
generation has a will to explore constantly
and come out of stagnant or stale forms
immediately when they realize it is time
to do so. Like argued earlier, in absence
of that will to create differently, the amount
of satisfaction we have now from this
generation would not have been possible.
Moreover, what is more satisfying to note
that younger generation, in addition to
being academically sound, also remains
equally aware of a need to keep abreast
with the latest and prevailing flow of
forms and trends elsewhere. No need
to add that they therefore, are also well
familiar with the post-modernists ways of
expressions. Whenever possible they’ve
well demonstrated they are capable of
creating accordingly. This attitude does
helps to enrich Nepali Art in the long run.
An interesting example is provided by an
impressive work of Bijaya Maharjan - in
the form of an installation work- titled
‘Door’. Here Bijaya has painted the door
in the most realistic way possible in a
wall of his work-place but added it with
real stone slabs and ancient locks as
supporting elements - so that a viewer
can experience a live and a unique
experience of travelling behind the time. •
May - June 2012
53
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