Monday, February 06, 2006

My Minds W-a-n-k 1996

My Minds Wank

In the vague situations of ‘paradoxical art practices’…yet another possibility of art …configured within confined boundaries of the existing gallery system.

The process of putting the complex into the simple stressing an ironic self-awareness of an artist and the understated context is one of the objectives of my show.

Since ages, human beings are constantly in search of the ‘new’. The new which could give them a different feeling, experience and perspective to look at things framed-unframed, said-unsaid, looked-perceived, illustrated-visualised etc., are all in search of something different. Art too since ages has been exploring new trajectories in the visual world, directing itself towards an emancipation of complexities.

The manipulation of a gallery space is a concept by itself, providing place to my belief of the possibilities in opening up different avenues. The gallery space here negates the indoor space while transforming it into a symbolic act of redefining the authority by redesigning the bare floor into an out door landscape environment. Hence an attempt is made to transform the given space into a whole three-dimensional space, blurring the traditional/conventional definitions of Painting and sculpture. If space implies the existing gallery conditions/terms (authority) then being accepted within that space is to a certain extent an endorsement by the authority to freely experiment with a given space. My canvas with a panoramic view runs all through the gallery wall at the eye level. This does provide a view that looks different with the other half manipulated as on the floor. This continuity extending beyond the capacity of sight at a single moment, gives a possibility of being a part of my imaginative world. One’s own eye act as window to the immediate environment in the gallery space upon which a view is installed. Thus the images on the canvas, the canvas in relation to the stretching space outside it automatically falls/represents a model of the real world in which the viewer is a part. In other words it means that there is no confined space in the gallery, yet it is seen as confined from outside. The one piece canvas (140 feet X 5 feet) focuses on the aspect of my imagined world over which the coloured visuals on glass represents the otherwise framed works in a conventional display.

A human being is also said to be operating on a horizontal plane both mentally and physically. To trip one off this notion of operation is a part of my concept. Thus my floor too is manipulated to the extent of causing a mental disjunction in a viewer while the soil tends to give a soft tactile feeling to a bare foot as intended to view.
The genesis of being…..the possibility of existence proved by the painted forms, as reality in black on white as the world of nothingness, the nothingness of what to see. The organic elements of nothingness, just as the activated energy as forces is created by vacuum beyond our mortal imagination. It’s sometimes mythic and sometimes real. My world of thoughts belongs to such imagination where its imagination persists but escapes the reason of genesis. As does my work reflect on the usual and the bizarre.

Is it seriousness about experience or about oneself?
Is it selfless questioning or hubris? Or
In artist/writers of experience, has imagination made real world radiant or has it collapsed in subservience to it?

My thoughts and works which never seem to rest on a single note, escalates into the neighborhood of this wonder-filled world with amazing places. This situation seldom gives me a chance to think about what I should be thinking otherwise. It permits me to bring down a bundle of ideas elapsing from the unknown boundaries of immense abundance into this natural and human-made world.

My works on trial serve my attempt to further my speculations of this mysterious world, trying to engross my attention into the unending fathoms of the tempting contents in life, with my ever changing ideas and conventions.


To me the ability to present any visual act, considering it as art signifies the very idea of presentability beyond subjectivity and the content that lies in a work. This is what makes the whole notion innovative to me. The conceptual boundaries breaking away from the conventional aspects of art practices (such as artworks restricted to easel painting or not being experimental with regard to the material/medium) cannot be transcended without an effective reconsideration of their formal structuring, until the attempt is appreciated, in the sense that, an adventure in thought is not possible without an adventure in language/presentability.

Broadly speaking, the component parts of my work of art serve a variety of systematic functions in building those qualities of image which I recognise as representational, yet at the same time made to shimmer and pulsate, to manifest a vision. It is only to give the image a sense of inner life which vibrates the air and space around it.

As a matter of fact, when one is confronted with a work of art one reacts with indifference or dislike, almost as when meeting a stranger. A painting, a sculpture or music, poetry, drama may touch something responsive in us and evoke an emotional impression, even causing mental stimulation. Whatever our reaction, the effect alone is felt, but we do not know its origin. It is unlike certain other experiences in life, such as intuition, impulses, presentiments, vision, spontaneous notions, sudden flashes of remembering and spells of forgetting (amnesia) , sensation- sometimes of a split second, we tend to ignore these perceptions as we are too busy with our routine occupations. They seem to me like greetings from an unknown sphere, or a kind of wave between our subconscious and conscious being. On this level of sensibility art affects us as our inner experience, an intuitive rather than logical knowledge.

Duppati Sudhir Kumar
March 1996, Baroda.

0 Comments:

Post a Comment

<< Home