JOIN USBeauty in subtlety
“In my work, an elephant becomes pink; and emptiness becomes space… I can play in my own space; I can place my images as I want; and I can create unbelievable stories that you have to believe in. Just like my grandmother’s stories that I have grown up with.”
The above lines picked up from the artist’s statement for the exhibition ‘Something Happened’ (2006 / Gallery Espace, Delhi), in many ways, sum up well-known artist Manjunath Kamath’s approach to both life and art.
A sensitive, innovative and mischievously provocative artist, Kamath (born 1972 / Mangaluru) straddles with ease a variety of mediums: sculpture, painting, video, installation, digital art, and so on. His expansive body of work, often with tantalising titles, delights the eye and tickles the mind.
Inspired by Indian miniatures, and merging insightful ideas with everyday experiences, Kamath employs wit, humour, irony and mockery as part of his vast oeuvre which has won both general and critical admiration.
Kamath’s latest show, ‘Postponed Poems’, which opened recently in Delhi, is already the talk of the town. Discerning viewers have seen it as a trailblazing effort, which would positively impact the contemporary Indian art scene.
Excerpts from the conversation with Kamath, the first recipient of the Raza Samman award in 2012, on his journey in the art world.
On his early interest in art
Coming from a typical middle-class family in Mangaluru, I grew up listening to my grandmother’s stories, visiting temples and watching village craftsmen. My favourite childhood pastime was to imagine and visualise mythological characters and sequences in my mind. Even today, figures like Varaha intrigue me. I consider the village idol maker, who made huge Ganesha idols, as my first art guru.
On his getting into arts college
When I passed Class 10, I was not even aware of the existence of art colleges. On the advice of a kind soul, I managed to go to Mysuru and joined CAVA. My father too supported my decision. I completed the course and got a gold medal. But even after two decades, I am yet to collect my degree certificate!
On his move to Delhi
After graduation, everyone was trying to go to Baroda for post graduation. But I took a train to Delhi with Rs 300 in my pocket. I knew nothing about the city or know anyone. I stayed at the Lalit Kala Academy hostel and started painting T-shirts to sustain myself. All the while, my father thought I was still in Mysuru! Later, I got a job as a cartoonist in a newspaper office. The best part was that I had access to a computer, which was a big thing in the mid-1990s. I would spend long hours on it, and learnt everything by myself. After five years, I suddenly chucked the job, and was back to square one. Fortunately, I received the Charles Wallace scholarship, which took me to Cardiff, UK.
On his UK experience & after
During the residency, I experimented with digital art, video and other mediums. More importantly, I visited galleries and museums to get a hang of the art world. It was during my visit to museums that I came across the beauty of Indian miniature art. I was simply bowled over looking at those paintings. It has had a lasting effect on my own art practice. Returning from UK, I was a bit confused as to what I should do. I had my first solo show at Gallery Espace in 1996. Things opened up after that show. Several solo shows and many group exhibitions followed.
On major influences
Traditional miniature painting is the most definitive influence on my work. I also read poetry, especially of Bhakti tradition, which helps me in my work. My favourite poet is Kabir because he expresses profound ideas with simple words. I also draw from mythological characters and episodes. My grandmother’s stories still keep coming back to me. With all these influences, I feel my art tends towards magical realism, both in form and expression.
On working with different mediums
Medium is medium…it is not art by itself. I choose the medium based on ideas I am working with at a particular moment. As for the content, I do not deliberately comment on issues, but will not prevent ideas flowing into my work. Earlier, I was interested in telling stories; not anymore, because I want the viewer to form his/her own narrative while seeing my work. I want to give that kind of freedom to them because I myself work very freely. I am not constrained by academic or curatorial pressures. I want to do things which I want to; the way I want to. The rest is up to the viewer.
About contemporary Indian art
The art boom succeeded in freeing many artists of financial worries. It kindled new confidence and energy. But things changed when recession set in. Only the best and serious ones survived. Fortunately, boom or recession, I have stayed unaffected and continue to do my kind of art without making any compromises.
On art schools
The structuring of academic studies is flawed; instead of encouraging creativity, it actually curbs it. Also, there is a negation of our own culture, mythology and traditions. If you go to the library of any art college, you will see only 10 per cent on Indian art and the rest are western. I think there is something terribly wrong here.
On his latest works in the series, ‘Postponed Poems’
It took five long years to complete this body of work. I have opted for terracotta for sculpture and miniature format for my drawings. In these works, I have tried to integrate classical imagery into a contemporary mode, without giving up its natural qualities of heightened expressions, unbridled wit and subtle annotations. It is a kind of reconnection with our roots. The series is also my homage to traditional artists and craftsmen who have, over centuries, produced masterful creations without receiving commensurate recognition.
Manjunath Kamath’s solo exhibition, ‘Postponed Poems’, which is currently on at Gallery Espace, Delhi, concludes on February 28.