In the silence of the night when I take a break from my work and sit alone in the balcony, I see a young boy walking along the footpath at Park Street, towards the bank Outram Ghat or sitting at the Howrah or Sealdah stations. He always has a bag on his shoulder and a drawing board in his hand.
Black clouds cover the sky while people take shelter from the rain. But the boy sits on the steps of the monument under an open sky - and the rain pours. The streets are full of crowds and everyone is running. He is sitting on the huge iron pipes at Metro Railways. Placed on the mud hills on the sides of the Park Street. He sits for hours-from evening to midnight -with no one to ask for any explanation ! Freedom ? Maybe that is what makes him move from the roof of the new market to place under the Howrah Bridge: a feeling. Which he cannot explain but which makes him wander and sketch even late into the Durga Puja evening. He has a desire to sleep in a Curzon Park, an eagerness to stand apart from the crowd. To be involved with the colour and brush. an interest to see people with their peculiarities. He even has a pain for ruined houses. the whisper of their doors and windows. These keep talking with the boy away from himself towards an unknown world. He is walking in the silence of the night with his bag on his shoulders and a board in his hand. He goes far and fades away.
The fire of the cigarette touches my finger and shakes me. I put it off and stop restrospecting. I make believe that I am still that young boy painting innocently. I sit silently as the chowkidar hits his iron rod on the street-thud-thud-thud. I sit before my blank canvas and go ahead with my work.
My Streetscapes and Landscapes
I have always painted beyond words because I think that a painter's language is different.
For some time now it seems that the explanation given to the painting is becoming more important than the work itself, In a way a successful painter is one who can also talk and write like a critic.
Once people see the painters work through his/her words, they are even supposed to be less critical of the work since they cannot usually intellectualize as much.
No matter how artists want to express themselves and justify it with marvelous explanations, the viewers have to accept all. In other art forms like music if someone stood on stage and screeched their bow on a violin, without a basic knowledge of the notes, I doubt if the music - critics would glorify this or if listeners would even tolerate it.
I enjoy painting and in tackling the painterly problems that lie ahead of a blank canvas textures, tones, light, the challenges of perspective, the anatomy of the human body. My early studies were more academic and their subject matter was Bengal, the land of my birth. I have now lived 15 years in New Delhi and traveled in my free time mainly in Rajasthan.
From a city and streets cape painter I now felt the need to capture the vast expanses of the Aravallis as I wandered around Alwar, in Kesroli, Bahadurgarh and Govindgarh. There are also some village streets from visits to Neemrana.
I hope that you will enjoy 'traveling' my landscapes and streets capes, as much as I have enjoyed painting them.