"Indian artists are not taken seriously in the West"

INTROVERT and grim-faced, with long locks fluttering in the breeze. At times, his eyes adorn a pensive expression. A carefree gait, unconscious of the surroundings. In the world of contemporary Indian art, the name Jogen Choudhury evokes a strong sense of admiration. Born at Faridpur in West Bengal and educated at the Government College of Arts and Culture, Calcutta, Jogen's academic profile also includes a coveted French Government scholarship to Paris. At present Principal of Kala Bhavan in Shantiniketan, his works have been exhibited at the Gallerie due Haut Pave, Paris; Albert Museum, London, Chester and Davida Herewitz Collection, Boston, U.S.A.; Masanori Fukoka and Glenbarra Art Museum, Hemeji, Japan; National Gallery of Modern Art New Delhi; Deutsche Bank, Mumbai; Academy of Fine Arts, Calcutta; and Bharat Bhavan, Bhopal. Besides this, Jogen was also the curator of the art collection at Rashtrapati Bhavan for nearly a decade. Despite such acclaim, Jogen sports an amiable disposition and prefers to remain low profile. Pestered for a discussion, he agreed to break the ice on some aspects of contemporary Indian art. Excerpts from an exclusive interview with Amarpreet Singh.

At present, there is a growing trend regarding corporate patronage to art in India. Do you support this trend?

Yes, I think that art patronage by the corporate sector is important. Sec, the culture of cultivating the art scene is interesting and must be done consciously. However, when the scenario improves, it is no more needed. In India, such patronage is important.

How do you react to the statement that corporate patronage to art diminishes the value of art?

There is a positive and negative aspect regarding any situation. Sec, when art is promoted or publicised by the business people, they are more interested to look after their own benefits. Gradually this will help the artists economically. But on the other hand, some artists might get influenced by this situation. Their work might also get disturbed. However, an intelligent artist will keep himself aloof from being influenced.

What is your opinion on the position of Indian art abroad?

The main movement of contemporary art was located in the West. To get appreciation in that society is a little difficult for Indian artists. Western artists have their own coterie. Museum owners and gallery people have their own associations there. So, consciously they do not want outsiders to be noticed or appreciated. Therefore, they never take Indian artists seriously.

During the last five decades or so, Indian contemporary art has made good progress. Despite this short period, Indian contemporary art is in a strong position. A lot of interesting work in this field is being done. In the last one-and-a-half decades, we have started receiving some minor appreciation. So people in the West are bound to accept Indian contemporary art one day.

What are your views on contemporary young artists in India?

In the past a lot of young people started new movements, which were influenced by modern political theories. While in Mumbai, individuals like Kishan Khanna and Akbar Padamsee were in the forefront, in Calcutta people like Gopal Bose and Rathin Mitra initiated new experiments. At present, young artists are doing well. In fact, contemporary Indian art is growing strong. But a lot also hinges on the economy of our country. If we had an economy like the USA, our activity would have been stronger.

Do you believe that in the present social milieu, an artist must go back to one’s roots to create?

It is not always necessary to go back to one’s roots. An artist must be always creative. Sometimes one can borrow from the roots, sometimes from abroad and sometimes from the contemporary scene. When the work is creative, it will surpass all negative aspects. Since India has strong roots, every intelligent artist should borrow something from the Indian roots.

How far do you feel that an artist should create his/her own environment?

Environment is vital for any artist, whether traditional or contemporary. However, when the environment is lacking, an artist must create it.

Tell us something about the influence of tradition in your art.

There are varied influences present in my art. These have come from terrakota paintings, like the Birbhun terracotta, the Bengal temple terracotta. The grace of these things has influenced me.

Is reaction to art vital?

Yes, it is always necessary for an artist not only to react to one’s own work, but also to one’s immediate surroundings.