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villageHouse

Fri, 18 May 2012 05:02:25 -0400

This house, in Churi Ajitgarh, Shekhawati, belongs to a textile printer who prints with wooden blocks. The blocky extensions of the house are freely added and the total structure is well harmonized by nature with weather-bitten walls and textures. The continuous painting is also a block wise addition that freely spreads on the surface. The foreground space bordered by dried bushes and sticks dramatize the limited construction area. Flowing trail of trees, clouds and mountains on the top accentuate this drama with complementary colors. The total emotive response is visualized.

villageChunnad

Fri, 18 May 2012 05:02:25 -0400

The thirsty sand of Shekhawati, innocently and splashingly sprouts even with the first shower of monsoon. Myriad polka dots envelope the land, like a chunnad with bandej (tie and dye painting) is covering the head of a newlywed bride. Modulating contours, like those of dunes, fill the horizon. This horizontality is relieved by the groups of vertical strokes of tree trunks crowned by polka-sprouting. The lady in the right corner, wearing bandej-polka odhani symbolizes the terrain.

villageBihad

Fri, 18 May 2012 05:02:25 -0400

In Shekhawati large chunks of land for reserve forest (bihad) border the cultivated farms and village houses. This evanescence of strange mixture creates a mythic mood, especially when the evening sun drops down at the horizon in the blue haze. Living and sprouting rhythm of trees converge in horizon expanding the painting surface. This breathing surface is complemented by the patch of abandoned earthen pots on the roof ot he house on the left. Every stroke in the painting enlivens the ‘inner light’ of the content from house roof and trees to the evanescent horizon. A unity of the surface is achieved in emotive response.

peacockDance

Fri, 18 May 2012 05:02:25 -0400

It is the crown of Shekhawati and its environs. Fanning from the center and unfolding the dancing rhythms, the painting with its lusty colors, echoes the shrilling knaaooos of a lovelorn dancing male peacock. The patches of strokes in gradients melt down the shrilling power of linearity and flat colors into poetry of a longing bird.

moonLightVillage

Fri, 18 May 2012 05:02:25 -0400

The village, Churi Ajitgarh, is donned with a mythic moonlight. With its forsaken dilapidated havelis having typical roof contours, deserted courtyards, and the creepy tree trunks grown helter-skelter, the content is engraved. Like a village folk-lore, the patches of moonlight and dark shadows are edging to expand further. All this is relieved by the romantic vast sky with its loney moon. The havelis with weathered expanses of walls and patches of windows and doors create a feeling of deserted interiors, as creepy as the tree trunks. The spontaneity of execution weaves together all of these ‘sanchari-bhavas’ (fleeting emotions) into a folk lore ever anew told by a Dada, Grandpa, to his grand children in the villages.

gangoreghatUdaipur

Fri, 18 May 2012 05:02:25 -0400

This opening to the water expanse, the corner of Pichola lake, is a real breathing-freedom to the people living inside clusters of buildings and thin lanes. The free brushing enlivens the feeling. An ambigious structure in the water is repeating the feeling of structures in the horizon where there are temples and ritualistic places. Dark patches of trees, the drawing of half moon, and dots of stars in the sky support the ritualistic nature of this side.

city-of-lakes

Fri, 18 May 2012 05:02:25 -0400

Udaipur is the city of lakes and a township with clusters of pairing houses with thin lanes meandering around temples and palaces. The weathered buildings are relics of a nostalgic feeling of evolution in art and architecture combining mughal art and native Indian aesthetics. These clusters of constructions, having spaces within, give a feeling of being ambigious objects. All this is surrounded by crystal reflections of lakes, projecting intersection-trajectories that weave the whole image. Patches of vegetation, reflections in water, and temple sculptures accent the modulations. These mountainous modulations of projections and depressions enlive the spirit of the Aravali. The horizon above hangar all. Creative expanses expend on the right towards the holy lands of Eklingji temple and Nathadwara temple. On left, the lakes continue beyond towards Jaisamand lake.

churiVillage

Fri, 18 May 2012 05:02:25 -0400

This village in Shekhawati has havelis (mansions) containing rare experimentations in murals. Its architecture, which was primarily boasted by the influences of British Company style and Colonial Residency architecture style, developed in Bengal. It is a village of languorous pace, giving full play to natural rhythm “arranging and changing placing carefully there a strange thing and known thing here” as Cummings would have put it. The courtyards, baadas, all around have meandering thick dark borders of dried bushes and sticks, and home many villagers and cattle. Outside are thrown, used and abandoned earthen pitchers and pots symbolizing Khayyam’s “who is the potter, pray, and who the pot?”. The whole ensemble is topped by dilapidated horizontal contours of havelis edging the dry open sky. Bends of neem trees dance around in vertical rhythm.

chandpolUdaipur

Fri, 18 May 2012 05:02:25 -0400

The whole feeling of this painting is that of an old township projected from the roof top of an old house. Interconnecting waters of the lakes surrounding the town are dotted with buildings and reflections of the palace. Typical Venetian bridge is distorted to unfold the spaces. Mountain tops loom on the top to secure the structure created with ‘virgin’ brush touches, which spontaneously fill up the surface. A minimally suggestive graphic idiom.