Reflecting postmodern practice, Raghava's current works are compositions of his experiences, each painting a personal take on his life, his world. The young artist has moved away from his earlier opinion that art always mandated an aesthetic; and having changed his mind on that, his passions roam more freely, grasping from memories and occurrences to feed the urge to create. These paintings can be read as compartmentalized aspects of the artist's identity, each informing of a particular part of his existence. His personal experiences are carried into the familial, the familial into the societal, the societal into the cultural and so on. The microcosm consequently converts into the macrocosm. His works then imitate a larger reality, rather realities. They are like fractals in a larger design, where one sees smaller imitations, almost like a zoomed-in look at life and living. Drawing from his memories the artist chooses to paint first and only then ponder over meanings, so that his works are not pre-determined or planned.
Working outside of his conventional style, Raghava has now explored abstraction, which according to him is something which he had "not dared to do before". In a break from routine he has chosen to stay away from the identifiable, finding solace in the unknown, the unrecognisable. However, in his abstractions, there is still the implication of his personal identity, for in using gestural abstraction the artist claims his presence within the picture plane. And again, this identity is multi-layered and thus complex.
The superimposition of layers adds to the complexity of the painting. Multiple images are juxtaposed, all from different ideas, adding a personal note to the expression. In an almost journalistic fashion, metaphorically drawn from the act of writing a personal diary, every painting tells a story, for each visual aspect within finds its space from a life experience. Nothing is imagined; it is experienced and visualised. Varied layers of meaning float through the plane of the painting, sometimes articulating a story, at other times forming dreams of multiple memories.
The inclusion of the written word in Raghava's paintings add to the dynamics of visual imagery, for the power of graphic elements subverts ambiguity. Yet, at the same time, the use of specifically chosen words, as much for their lack, or possession of meaning, challenges the meaning of language itself. Often the words make no particular implication for they are coded, literally hiding their meaning, while still conveying the idea of importance through their very presence. Visual art then takes on a somewhat verbal character.
For a well-travelled individual, his work appears to have progressively become grounded with references to his homeland. His mind seems to resist alienation from his roots, from his cultural identity and background. His paintings are a manifestation of personal identity through representations of many worlds; they do not exist in isolation. The reflection of his thoughts, and consequently his life within his art, is seen in paintings created after his grandmother's passing. Death causes disarray in an ordered life, creating moments of vulnerability and insecurity. What was once understood as being a part of one's existence is changed and will never be the same again. In time, order and stability return, but one's life will be altered for there is a difference caused by the void created by loss. At such a trying time religion would be expected to serve as a solace, but not so in the artists' experience. Daunted by the religious customs and rituals that accompany death, Raghava examines the place of religion in daily living. ' Identity and Religion' may be interpreted as the human soul pushing past the constraints of religious dogmas to break free from the shackles of tradition. In reaching towards a fellow being he suggests emotional attachment and being in touch with the human side of things, rather than merely observing rules in order to keep the faith and conform to tradition. In Raghava's words, "religion is important, but the human element is more significant. Religion should be a superficial platform to do more important things." His symbolic use of the calendar here signifies the passage of time – that spent with his now-deceased grandmother, and the time after her passing. But time itself is a great healer, and in time his survival will be negotiated through his acceptance of the inevitability of death.
With the finality of death comes the need to relive the past through memories of times when life seemed surer, more secure. ' Education' is one such walk into the past, delving into memories of his childhood where images flood back from school days – images from school charts replete with the legend as seen in popular poster art and an animal mask reminiscent of childhood tales, jostle for space with a caricature of a bride-to-be with a garland in hand. In another segment of his life is the joyous occasion of matrimony – a wedding celebrated in the true style of urban kitsch. Raghava and his bride Netra staged a real-life performance on the theme of ' galatta kalyanam' which invariably found itself into his work. The large, cinema style cut-outs of heroes, painted in saturated colour, as in the hand-painted hoardings of popular art, are easily adopted into his visual vocabulary. Sporting the naughty element of horns on his head, he is caricatured as literally rubbing shoulders with the stars, cheekily associating himself with the likes of those he may secretly admire, but would rather not admit.
Another personal take on the wedding is the ritual of 'Kasi Yatra' where, prior to the ceremony, the bridegroom h as to choose between the responsibility of family life and the quiet solitude of asceticism. The groom enacts his journey to Kasi, the site where he will become an ascetic, complete with slippers, umbrella, a fan made of bamboo. On his way the bride's father intervenes and advises him of the superiority of married life, promising to present his daughter as a companion for life. The umbrella is to remain with the groom, to remind him of this advice; and as promised his wife will stand by him in his life. Words reiterate the imagery present, thus in a sense emphasising the enormity of what has today become a mere ritual. And yet, beyond the mere ritual, the pervasive image of the woman he loves looms large above all else. Images of his muse Netra have always been an integral part of his art.
In 'Aria' the young violist is postured in a pensive mood with downcast eyes, immersed in her thoughts. The drama essentially lies in the scale of the work and the striking use of greyscale, highlighted subtly by the ochre paint splashes. The handwritten text from a personal letter exchanged between the van Gogh brothers, superimposed on the image reiterates the privileged position the viewer occupies. There is no doubt that this is a personal moment that the viewer has been made privy to. Encroaching into her private space, the viewer is allowed to examine the subject, while she sits seemingly unmindful of the gaze she is being subjected to. Netra maintains that she enjoys the idea of being Raghava's muse and model, and is fascinated by his ability to capture nuances of her. Her ubiquitous presence in almost every painting provides glimpses into the artist's personal world but also begs questions of objectification, borrowing from what may be broadly seen as an Indian socio-cultural phenomenon, the male gaze.
The female figure looking into the mirror in 'Gaze' turns the gaze upon herself. There is irony when one becomes aware that she is unable to see herself, for she is faceless; but the spectator's gaze is allowed to linger on her body, both as an image in the mirror and literally in the flesh. Themes of duality and secrecy pervade these paintings which are accentuated by the drama and the darkness that are implicit. The artist's intention to open up his life in an almost journalistic style is one thing, but the viewer's reception of his imagery is inevitably sifted through their own personal experiences and hence interpretations are bound to be varied.
The paintings, in choosing the artist himself as their protagonist, are studies in identity and individuality, for every visual image connotes an aspect of his life; and in Raghava's own words, "the painting experience itself is the manifestation of a journey".
Yatra
Raghava KK
October 1- 6, 2007
Visual Arts UK
27 Cork Street, Mayfair London, UK |
