Art shows can often become very overwhelming given the amount it stimulates our senses. It isn’t very difficult to lose yourself amidst the world of the artist or your interpretation of it.
I was in a similar reverie of sorts, exploring the walls of the Contemporary Centre of Arts at Bikaner House, which were adorned by the works of Lalu Prasad Shaw and Asim Paul. And there it was, this piece that caught my eye. A simple portrait of what would be best described as a middle-aged Bangali Bhodrolok, resting on an arm chair with the leash of a dog, with his background reflecting the party symbols of the TMC, Congress, and CPIM, in that order respectively.
Now as far as interpretations go, there could be hundreds, categorized according to the appropriate lenses that it was being viewed from. However, what struck me was the absolute directness of the piece, and of course, the irony of its timing, given the recent tumultuous developments and disruptions in the state. And that’s the theme that boldly stood out in this show – the relatability of the pieces, whether or not you are an art connoisseur.
Compared to the gloomy evening outside, the rooms of the Art Centre were echoing with people soaking in and connecting to the cultural buds that lay within them, active, dormant or otherwise. The show had thematically been curated over the expanse of two floors, the one at the ground level, displaying the works of Lalu Prasad Shaw and the one above having those of Asim Paul’s.
What gave it a sense of continuity while restoring their distinctive styles was their touch to Bengal. While Shaw’s works were more explicit in expressing that connection, Paul had a more abstract style of portraying the same.
Shaw’s pieces had a sense of retrospection in them – one that would definitely make the viewer go deeper than the mundaneness of the subjects of his paintings. The contrast that lay between what meets the eye and what lies beyond that, brought out the unique touch of relativity in each piece.
Paul’s pieces on the other hand reflected a sense of introspection in them – one that he had spoken about at the introductory section to his exhibition. His theme, perceptive oscillation, was a rather explicit feature in each of his works.
The contrasting shades coupled with the dabs and dashes of paint on each of his piece narrated the transforming realities he had been exposed to since his childhood. Even the ones with monotones had sharp breaks in their fluidity, pointing out the symbol of change. They were all a representation of the blur that the collection of his memories were, while having a distinct mark of his subjection to the interchange of backgrounds and cultures.
When asked about his inspiration, Asim Paul said, “My works are a collection of conscious and unconscious memories of life experiences of a very lengthy period of time that transforms into a series of canvases and sculptures.”
“Be it the framing or the canvas size, they all add to making each of Asim da’s pieces eye-catching. The color play that brings out the contrast in each of his works is quite interesting and spectacular,” said Rasna an influencer attending the event.
A delight for the eyes and an enigma for the mind with every simple stroke and dab of paint is what makes each of their works stand out despite belonging to the same bracket of cultural relativity.
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