Vibrancy in simplicity

J M S Mani's works were full of rich imagery and dramatic colours and yet were endearing and emotive. A tribute.

It is difficult to believe that almost a year has passed since artist J M S Mani’s demise. Mani sir, as he was fondly referred to, was remembered at the recently held Art Park, at Ravindra Kalakshetra, an initiative by senior artist S G Vasudev. Several members from the art community gathered and recalled their association and interactions with him, which were numerous, rich and as varied as his art.

Last year, I went through my archives, and found his name in articles dating all the way back to 2003 — references to his rapid and eloquent sketching, the vibrant banana sellers, the 2004 Chitra Santhe where he participated along with other senior artists and a charity show coverage where Mani had contributed a painting from his Badami series in the same year. Ananya Drushya’s session in 2008 with his lithographs, drawings and paintings from his early days to that point, stand out for their interactive nature, and there are records of many such instances through the years.

Leafing through these, a deep sense of loss pervades as one is reminded of his gracious presence, his brilliance and his immense contribution to the art world. Mani’s presence in the Karnataka art scene has been palpable, entrenched deeply in the archives, with his association evident at every stage. Quiet and restless, beneath a brusque exterior, Mani had this underlying sense of urgency about him — to complete artworks, experiment with various techniques, materials and mediums, demonstrate a painting before an audience, and participate in every art activity, as much and beyond what was physically possible. Much of this urgency and force translated into his artmaking, in the passion and spontaneity of the bold lines, short strokes, vivid colours and textures.

Geometric abstraction

The Badami series brought him much popularity with its rustic imagery and the endearing simplicity of rural scenes, the vibrantly colourful figures, and a primal articulacy, all of which were heightened through a dramatic composition. His geometric abstraction explored colour and space alluding to the physicality of natural elements in a reductive form, while ‘Mother and Child’ with its strong bold lines, is expressive in the immediacy and emotive bond of its subject. These are just a few of his numerous thematic experimentations.

As an artist and teacher, he effortlessly adapted and connected to the art market, connoisseurs and collectors of his art and his students. The performative aspect inherent in his artmaking was apparent in all his interactions. He preferred to demonstrate, to literally illustrate a point, rather than adopt any other form of communication, especially any verbal or theoretical explanation.

In recent years, post his illness and prolonged stay in the hospital, his sketching had intensified, the forceful, overlapping lines delineating and marking space, suggesting shapes and forms, sometimes exaggerated, and often punctuated with abrupt pauses.

Mani’s large body of work across diverse media resulted from a lifetime of experimentation, a constant quest for expression and a prolific approach innate to his art practice. To locate him from a historical standpoint, it is essential to view his practice from a wide-angle with a critical inquiry into his persona, his extensive knowledge, and his inspiring influence on his students and the art community, in general.

It has become imperative that archival projects focus on documenting information about all senior artists and their art and making archives accessible.

The author is a Bengaluru-based art consultant, curator and writer. She blogs at Art Scene India and can be reached on [e-mail]

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