I have always felt an artist’s life and images are responses to some pressing cultural and historical needs of the time one lives in and the artistic motivation drives the mind into a journey of discovery, exploration and learning. Since my passing from Kala Bhavana, Santiniketan, images unfold themselves in my work creating trop'es of awareness, accelerating the assimilation of what environmental experiences have to offer to me in concentrated form. On my painted space, I intended to express my own deeply felt reaction to the existential conditions of an epoch. Whenever I confront a blank surface, I go through all the terror and agony of stepping into an ‘unknown’. What become the directives to the birth of an image are my thoughts and emotions, my readings and observations, my beliefs and values and the vast compilations of past experiences.
From my days in college, I have used extensively various kinds of medium and printing method from different surfaces and techniques. I have been using various mediums, for example, oil and acrylic on canvas to viscosity which has given me extremely good results on acrylic sheet. I have even experimented with etching, engraving and dry point on acrylic sheets with brilliant results and succeeded in using the soft ground and intaglio. But my focus is in painting on canvas, mostly acrylic.
At this point of career, I am deeply driven by a desire to create a new vocabulary and set new standards in painting. It is almost a combat. It is the same thing for suffering: in such suffering there is a whole manouevre of the unconscious of the soul, of the body, that makes us come to bear the unbearable. Exactly from this manuoevre, leads me to the act of painting. Basically, a will inclined to search out the noble form: perhaps by a sort of need to aid ourselves and especially me narcissistically. Each stroke, each line of my work has survived the shipwreck of living to tell at tale and now its time to paint all the phenomena on the plates before they are precipitated assembled, crystallized.
The need to exploit different material has not been tried so far and in this regard the use of multimedia appears to have a great range of results. My experience in the traditional painting with common methodology has shown that something more can be done with systematic experimentation and scientific way of recording each and every effect analyzed, where alternatives are used. A substantial well equipped studio and sufficient monetary support to meet all the expenses are necessary.
I imagine, if given the support from your esteemed body, I will pursue my objectives I have written above.