Aesthetic longing for togetherness

Art

By Gurcharan Singh

THE diversity of the nature and spirit of the people of my country has always stimulated my head, heart and hands. And in all their unison I sit before the canvas and contemplate. Soon the images of my people began to appear on the empty canvas. And with all the aesthetic emotions in my command, I sketch them with the help of charcoal sticks. Some-times in the process these human figures keep appearing and disappearing. At times they overlap each other or join later with the group. This get-together builds a mood or a situation. Day and night also cast their shadows. It is at this point of time that colours take place and then the process of painting begins.

These people are the ones who are deeply invol-ved in the struggle of life but always remain rooted in the strength and power of their human spirit. They are either framed in windows or doors or are leaning against walls and pillars, but are always sharing their predicament with birds and animals. At times even birds and animals are craving for the human touch and warmth. They are uncaged and unleashed, which is suggestive of the hope and freedom that people of my country always strive for. The introduction of mask in my paintings is a new dimension to my imagination. The mask may appear as a plaything but at the same time succeeds as a cover for the mischievous face. The people in my painting have world of their own, unmindful of the world existing outside the boundaries of my canvas.

They are oblivious even of the artist who has been so keenly observing and painting them on the canvas. There is a loneliness in their togetherness. At times they are cluttered around the colonial architecture, probably telling that the world for them has not changed much. They are definitely not disheartened by the dismay and despair that life sometimes offers.

(As told to Prem Singh)