Paresh Maity’s River of Memories @ Art Stage Singapore

Written By Unknown on Jumat, 11 Januari 2013 | 21.16

Uma Nair
11 January 2013, 03:39 PM IST

Two watercolours The Morning and Yellow River-that mirror Chinese modern art. A number of watercolours that reflect his travels-and an installation called River Of Memories.Paresh Maity gives TOI an inside scoop on his works at Art Stage Singapore (Sumukha Gallery). 

Yellow River

My installation is about the sounds and the impact of water on our lives.I have used brass and a mirror to create the idea of many reflections that are there within our minds .I have always had an attraction for water and the boat that is used by man in coastal areas all over the world –I look at the boat as an instrument-it is important in the livelihood of a fisherman as well as in the line of transportation in rivers anywhere.I have drawn boats all through my artistic career.They have been boats from Tamluk,from Benares,old rice boats from Kerala from China and even from Venice.

Paresh Maity to TOI 


The Morning

In his two Chinese watercolours Maity gives us the artistic emphasis of Chinese art to combine the classic and the modern. The revolutionary undertaking of mixing the inkwash method with watercolour,gives us pristine lines and colours and minimal strokes, bringing these paintings to a brand new realm, which is fundamental in bridging the past and future of the Chinese modern art.

Maity also gives us a brilliant flashback in his Piccadilly and St. Paul's Square as he blends in the impressionist with the surreal. Maity's technique recalls the past in historical trends in abstraction. In the 20th Century, Western artists such as Piet Mondrian and Wassily Kandinsky strove to demonstrate the purity of art in its abstract forms. Yves Klein's blue monochrome work has taken the expression of colour to a new level by using colour to stimulate the audience's emotions.

 

Piccadilly

Maity reflects the eastern aesthetic in his technique and his quicksilver fervor-he gives us in his Benares watercolour  an artist's innovation in the use of colour and his breakthrough from the convention of Western Realism in the great age of Bengal watercolours that took inspiration from the Western school. Interestingly Maity turns away from the classic use of layered light and shadow to present us the power of volume in small compositions as well as large. He uses the temple tops of Benares as a medium to express colour and the change of emotions.

Maity helps us recall Vincent van Gogh –who used the flower as the central theme in Sunflower  the colours of the yellow sunflowers and the desk are so vibrant that they become the channel for the artist's passion, at the same time arousing the same intense emotions among the audience. Comparing to Van Gogh's work, the dark tone in the temple tops of Benares are  quiet yet fascinating, creating for us  a completely different atmosphere by bringing tranquility and peace to a picture that evokes density and depth.



Twilight

All these watercolours like the change of shades of strokes on paper draw our attention to art specifics and the grasp of abstraction in creating landscapes. The space around the darker strokes seem to be flattened by the darkened background. The subject matter hence is extracted from reality, luring the viewer into a deep and boundless night sky/terrain of soil. 

Maity also subtly creates a counterpoint to  the Chinese concept of "the greatest image being formless," materiality is never essential but it is  extremely intuitive and it is the art of lines and strokes. Maity is  able to dilute the rigidity  of  all material forms and express his thoughts and feelings with the power of a few strokes of watercolour. The "subject" present in Maity's art is not merely a "material subject" but a "spiritual subject," thus the spirit and realisation of abstraction is the natural root in his art.

River of Memories

The intstallation River of Memories gives us the idea of a larger materiality in the boat that is made of mini boats.The stems of the little boats bring on a certain  force and vigour, the lines in the branches manifest the cohesiveness, continuity and power of creating a skeleton framework in a matrix of memories. The illustration of the main larger piece is extraordinary and reminiscent of the large rice boats in Kerala even as it creates a movement at the end of a stern in the metal brass script. The well assembled little boats, again, resonate with the elegant structure of multiplicity . The slightly inclined main stem appears particularly resilient and elastic from the inside, while the minimal form of the boat is radiated with streams of vitality in nature.

River of Memories

It is the bent curves of the brass metal and the  horizontally parallel little boats that  cause an illusion that the background is stretching sideways, and renders the subject to exhibit in itself a sense of dynamic and strength. It is as if the boats moving  across an ever-expanding piece of water (mirror) , stay in ascension while the clouds in the air are accelerated by the breeze to become streaks of straight lines with temporal allusion. While tangential/inclined /horizontal lines create a sense of spatial expansion, the vertical orientation of the River of Memories is indeed eclectic and elusive-because water itself is transient and ever changing even as it enchants.


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