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A dramatic spectacle
"I draw inspiration from murals.'' As if to substantiate his claims, K.V. Jyothilal's solo exhibition at Durbar Hall Art Centre here features three replicas of paintings in the Ajanta caves.
The exhibition is being sponsored by the Kerala Lalitakala Akademi.
But the artist goes beyond his connections to the umbilical cord that links him to his tradition when he associates his lines and images with immediate realities.
Jyothilal's work, at one glance, may look like an unfinished work from C.N. Karunakaran's studio. A comment countered by the artist with passion. "There is no rule that only CN could draw like this. My lines and compositions are different from his.''
True, Jyothilal speaks more about broken images. Like the headless statue of the Buddha. A motif that returns to his canvas quite often. Wherein one frame, he tries to capture his anguish over the demolition of Bahamiyan statues of the Buddha, in another he places the prophet of non-violence in contrast with the gun-wielding terrorist.
His images are direct and raw. Even works with elaborate design schemes will open up before the spectator with the mundane imagery used. But one should appreciate the effort behind each work.
Like any other contemporary artist, Jyothilal is also dreaming about a time when people will start buying paintings to adorn their walls. The day when people will discuss about designs and colours of frames as they do now about other accessories that go into the making of home.
This element, however, seems to dominate Jyothilal's perception, while conceiving a frame. For, they are all aligned beautifully and symmetrically. Figures are two-dimensional and sharp featured. And always in harmony with their environment.
If there is one concept that Jyothilal repeats, besides Thadhagathan or Buddha, it is the union of man and woman. It could either be a rhythm of creation or a celebration on life. Even in the middle of penury, dreams remain colourful.
In another innovative attempt to draw crowds to the gallery, a play was staged on the premises of the Art Centre. The one-actor performance was in many ways connected to the situation of a contemporary artist.
`Nashtamakunna Ente Mukham' (The Face that I Lose) is one of the most powerful scripts penned in recent times. The playwright, P.J. Unnikrishnan, tells us in the play how one is crucified by society for choosing to live his life his own way.
Even with limited resources, and Rajesh Sharma, the actor missing his lines, the sparse audience could forget the noise of the traffic on the DH Road. Rajesh had the presence though he failed to portray his character effectively. For, those who gathered at the venue were impressed by the spectacle. Only very few, those who had some idea about the play, knew that the protagonist was an actor, who failed to succeed. As a result, he is spurned by his friends and family. He ends up in a cocoon of self-disgust. At the end of the show, only that image remained.
In that sense, the actor and the play have succeeded in making a dent in the sensibilities of those present. Our contemporary art scene needs more such inter-disciplinary interaction.
By Anand Haridas
Photos: H. Vibhu
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Life
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