painting

.          

                                                                                                                        M.Natesh

            Fishis a moronic metaphor for him since, if something that is as elusive as fish,can fly, then that is the end of all human-sense! Nonsense! Plainly and deeplyrepresenting lack of rooted ness and roots in tradition. Conquering theopposite sex comes from the superior power of the feminine which is sexuallypositive and sometimes negative, He says, one has to live with such intenseorganic magic of gender, he says, Bravo! Well from what we get to see now, weare in for much more intense commentary on life. If I were to classify it I wouldkeep it, The unreal-real, and the closest of nomenclature, for his work.

Populate his recent canvases.Elusive and fluid, in expansive living terrain and caught in nets, fish is aclassical metaphor for women and men as well in recent times. He insists onselling and selling becoming the core of everything. Being les human and moreautomated like the five dialogues in the film Matrix, I am the last man kind.All girls are not happy to expose, it is the time frame of saleable youth thatpushes them to flying people end up being mechanical.

If one has to call them that.

Nope, mermaids,

Fish

Beginning withthat reading that any authentic expression originating from the self has apictorial tension which is the evocative quality of Shovins work, let usdissect his current subjective engagement.

Well, that muchfor, the pictorial assessment that one can put in on the construction of hiscomposition.

I am consciouslyavoiding the word surreal shale the cyber mathematics involved in his workdoesnt have a degenerating organic feel to it. Shovin is rather clinicalconceptual and ideating. More a presentation of impossible ideas that muse oncurrent critical perception of the global Indian who is sufficientlyopinionated. T.M. Escher was also into a mythical mathematical journey whichwas pure gainesmanship when it happened.Even those were days with two worldwars and unpardonable human atedity but Escher chose his own ironic paradoxes.But the mathematician who is cyber- conscious in Shovin is point blank andaccessible to everybody. Extracting a design out of the fractal nature of hissubjects, he builds a filigree of finish which accords organic value to itsmathematics. Shovin doesnt leave alone any traditional device that would comein handy when his expression is in full flow. Since mathematics has itsintrinsic magic, pictorial devices that have a mirror effect are found aplentyin the body of work that he has produced in the last five years.

            Beingfully aware of all the ills of our urban jungles, Shovin moves forward tocreate wobbly matchbox buildings, with an unreal feel to it, roads,automobiles, trains, buses and human figures moving in and out, at impossibleand possible angles and perspectives. Not without a kaleidoscopic ballooningeffect that expresses visual, physical inflation that could well be the reasonbehind inflated economic mores.

            ShovinBhattacharjee hails from Shillong. Even today he looks at it as a visit to aholiday-hill-resort, his journey back home, whenever he makes it. From such aglorious spot of nature color can never be muted to suit, chosen Indianess of palettethat the market normally demands. That explains the richness of color in hiswork, doing its transition from one end to the other, of our spectrum. In acountry as diverse as Indianobody can avoid a culture-shock even inside Indiaif one moves over to its capital, Delhi.Right from the Monumental Mugal Delhi, to the Skyscrapered New delhi, with its broad roads, everythingcaptures your family. Young shoving stood in front of this city-scape with eyeswide open. But the master in him had other plans. His visual memory andexperience opened up a new idiom of expression that literally left him with nochoice. Through he indulged in it with eyes blind folded and with love. Suchreality has its unreal quotient, when one seeks a balance with a gloriousnatural past and its magical topography. Not that there is no magic in what onesees in modern metropolises if one encounters them for the first times, inspite of such effect, waning with time.

Training the originsof an icon look uncouth, if one is talking about the accomplishments of aculture maker. But the same becomes essential if one is addressing the contentof a young masters work since it helps authenticate the depth and scope of it.

Real andunreal

Entertaintment