Nilima Sheikh: Remapping the familiar |
“MY MOTHER had, as
a child, cherished a desire to be an artist. We say a lifeline passes from
mother to daughter. It is difficult to know sometimes where one starts and the
other ends. Did I become a painter because of my mother? Because of her, with
her, I went wandering every year in the Himalayas.
Because of her I learnt to love travel to new places or re-mapping the
familiar. Every time I travelled without her, I wanted to bring the landscape
back to her because she had taught me to make the natural world intelligible.
Because, without her, I was handicapped…”
Nilima Sheikh’s Garden for Mother, brush drawings since
1997, gather depth from the emotion invested in her words from the catalogue
for a precious being who is no more. As much as from the tendril-like nuanced
figures, ethereal jewel-pure colours and the restrained silences that wash
through the current display at the Sakshi gallery in Bangalore from February 9
to March 6 ~ harking back to Asian traditions of painting from China, Japan,
Tibet and Sri Lanka, to Indian miniature and narrative legacies, to the primal
bonding between art and craft, perhaps
even to beauty as a defining quality. Her enthusiasm now enfolds the
post-Ajanta Buddhist cave paintings of Dunhuang in China.
In an age when
attitudes dictate a turning away from conventional aesthetics, when to be
tradition-bound is to invite derision, when stridency often substitutes for
creativity, Nilima Sheikh ~ born in New Delhi in 1945 and trained in painting
at Baroda from 1967 to 1971 ~ stands apart. Primarily because she’s serenely at
ease with herself, and is proud to be a woman and an artist in a generation
that paved the way for today’s flowering across the land.
Nilima’s artistic
lineage, her mother apart, draws from her inspiring teacher at Baroda, K G Subramanyan, who was in turn
influenced by Binode Behari Mukherjee, his shaping force at Shantiniketan. And
Nilima recognises the importance of excursions with her teacher at Baroda, now her husband,
the celebrated artist Gulammohammed Sheikh.
Captured in
personalised hieroglyphics and vari-planed perspectives through the symbolic
naturalism of an animal, unspecific vegetation or coupled figures swathed in
intensity, Nilima shared slides of her recent journeys of self-discovery one
evening. Inclined to work on cycles of paintings, as in the calendric series of
the narrative of Song-Space, she
explains, “Maybe I’m uncomfortable with a single piece. I’m constantly trying
to resolve that.”
Re-mapping the
familiar, to her, is a major area of engagement. In her works, whether casein
in canvas or tempera on paper, her focus is on the everyday, but not on the
banal. The intensity of Baroda-based Nilima’s transcreative powers is
mesmerising in the 1984 series of 12 small tempera paintings, When Champa grew up, which retells with
psychological truth the nurturing of a young girl in Nilima’s neighbourhood,
her marriage and premature end for dowry, a very Indian tale. But in Nilima’s
poetic narrative, the sequence grows beyond illustration, beyond the
commonplace, to a universal plane.
Her works, whether
based on personal experience or timeless legends like that of Sohni-Mahiwal,
encompass the drama of the domestic or the strains of human interaction. The
resulting amalgam often captures the commonplace ~ a crouching woman washing
clothes or scrubbing vessels, a courtyard peopled with family interactions, a
pharmacy of yore, a child at a sweet stall. Extending her canvas as in Shamiana, her 1996 work for the Second
Asia Pacific Triennial at Brisbane that depicted “interior things inside and
exterior things outside” in its tent-like space, she renders both sides of each
huge panel with tantalizing intricacy.
Linked but not
chained to Asian traditions, Nilima refers equally to Far Eastern paintings
like Ukioye or Pictures of the Floating World, as to the Nathdwara paintings of
Rajasthan. Whether in her miniature-scale works or her screen-like sets for the
1993 Vivadi theatre production of Umrao,
Nilima’s work has a striking evocative grace, occasionally breaking through
singular space into panels that enhance simultaneity of perception. She
acknowledges a penchant for illustration, perhaps even for school textbooks,
because “I think my children’s perceptions grew with the books they looked at,
even more than their parents’ paintings.” Sweeping past the peripheral, Nilima
thus connects the past with the present, the traditional with the contemporary.
For doesn’t the test of today’s truth lie in the brush of the creator?
Garden for Mother, 1997 |
Her effects seem
deliberately poetic, with extended abstract notations rendered hers with time ~
a dash of colour, a form that could be a being or a leaf or beating wings. Just
as personal is her choice of media ~ her decade-long choice of gum and casein
tempera, with the textured compositional propositions thus enhanced. And her
preference for the age-old Indian miniaturist’s handmade wasli paper, made at Sanganer near Jaipur. Nilima’s crusade could
be interpreted as a championing of the traditional Indian painter who, by
virtue of his current form, is construed as relevant to her view.
Nilima, who
studied pictorial concepts of Indian miniature painting and the tradition of
tempera for its relevance to a personal contemporary context on a government
fellowship from 1982-85and from 1988-90, has participated in solo and group
shows all over India and in West Germany, Belgrade, Titograd, Istanbul, Ankara,
Dhaka, Johannesburg, the UK and the US. Her work was featured in the 1988
Christie’s catalogue in aid of Helpage, and ‘Artist Alert,’ organised by Sahmat
in 1989.
Her stances, as
vocalised beyond her art, reflect a process of internalisation in a voice both
sensitive and sure. Here are excerpts from a recent conversation in Bangalore:
There are so many images of
the garden in your exhibition, and tender references to your late mother in
your catalogue. I believe she was a pathologist, though she painted. Do you see
yourself as living her dreams?
In some ways, yes.
There’s this whole question of how a mother’s life is so interconnected with
her child, especially a girl child. After my mother passed away, the memories
were so intense. Whether it was my life or hers, there was such a blurring
over. It was my childhood, my children’s childhood, my recollections of her
telling me about her childhood, a continuing convergence. Through these images,
I was perhaps also referring to other lineages of art history, like the
Shantiniketan school, which referred through the nationalist proposition at the
time to an Asiatic lineage.
What do you recall of K G
Subramanyan as your teacher?
Many things. (Reflectively) One was the question of
languages in the visual arts. How a thing is said through the way it is said.
The question of construction. That the visual arts language is as important as
that of literary or other arts. To have any kind of expression, one has to
develop this.
Through his
reference back to his teachers, to the work of Binode Behari Mukherjee or
Ramkinkar Baij or Nandalal Bose or Abanindranath Tagore, these became for me a
way of discovering an identity connected with the Asian tradition.
The way he broke
hierarchy was important for me. Believing in praxis and practise was a major
way of dealing with art. In his work, his ideas and his writing ~ this is not
something he personally instructed me about ~ the differences between craft and
art, between major and minor art, the polarity was diffused. I’m not saying
that I refer specifically to craft in my work, but crafting became an important
way for me to look at art, even objects of everyday use.
When you taught painting at Baroda from 1977 to 1981,
what tenets did you base your teaching on?
It’s very
difficult to think of one’s individuation. I can think of all the ways that
other people have influenced me. In my own ideas, I can see the influence of
Subramanyan or Gulam, who I live with.
That’s the time
that a lot of fresh students came to Baroda from
Karnataka and Kerala, including Pushpamala and Suresh, with a skill structure
that was different from artists of Gujarat. It
became a challenge to me to encourage that, rather than just what I was
familiar with. There was already a tradition at Baroda of not giving prescriptions, trying to
allow students to see the proposition within their own work. This was
Subramanyan's greatest belief.
I taught the first
year. The modernist idea was to try and purify that, to rid them of their
preconceptions. I tried to encourage students not to repudiate their ideas and
backgrounds without questioning.
With Gulam in your life, how
have your interactions shaped both your lives as artists?
Gulam was my
teacher. He taught art history. He
opened up the world of art today and in the past. After we got married, we
found we got so much pleasure out of seeing art together, whether in India or
abroad.
At a more personal
level, Gulam always pushes himself and others around him to their optimum.
Gulam ran a magazine out of the house when our children were very small. He was
teaching and painting. Through that, I was bringing up little kids. There was
hardly any parental support. There didn’t seem to be other artists around with
small children whom I could share these things with. Such a hurly-burly! I used
to get exasperated. (Laughs) I still
do. But he’s made me a much more active person than I was in the past.
How did you go about your
study of India
miniature and tempera traditions?
It’s been an
ongoing thing, but during the Eighties I actually got an opportunity to travel
and study the techniques of various kinds of tempera painting, particularly at
Nathdwara and Jaipur in Rajasthan. There might be questions of whether these
traditional painters are imitating themselves. I don’t think the problems are
only with them, but also in the way we regard them, the way we don’t include
them in contemporary art. Contrary to myth, these practitioners are fairly open
about their techniques and materials. As soon as they realise you’re a painter,
they don’t mystify anything. They allow you to watch them paint, they allow you
to use their materials on a trial basis. And I made good friends, especially in
Nathdwara, the centre of Pichwai
painting.
I met a very old
painter through Amit Ambalal. His name was Dwarkalal Jangid, a fine painter.
He’s a practical man. When he feels there’s something in modern methods, that’s good enough. He told me of how the
traditional pigments are prepared. I’ve tried to record as much as I could, but
there’s far more to be done.
In India, we need
to pay more attention to paintmaking. In Nathdwara, the process of preparing
paint is very much within our abilities. But we don’t have access to either the
range of raw material or to the technology; they are not marketed. It’s not
necessary that you should do every part of the process yourself. Pigments can
be prepared upto a point, and the rest you do yourself. Within families at
Nathdwara, somebody would prepare some colour and keep it ready for use by
everybody else. Powdered pigments would be kept ready in the form of a ball or
a cake. When you need it, you just dissolve it and add the glues. It works
within the community because of its cooperative nature. But this information
doesn’t get out.
Even with
papermaking, we have so much of traditional information. Papermaking is a sorry
state of affairs. (Excitedly) Think
of the vasli papers from Sanganer
that the traditional miniature painters used. Every time you visit Sanganer,
you realise that fewer papermakers are making vasli paper and the quality of the paper is deteriorating. There’s
plenty of papermaking on in Sanganer, but of a commercial kind. The vasli paper is dried on fresco walls, so
it takes on a patina. It is not bleached. That’s what makes it special. The
local artists still use old papers that are in circulation because they want
their pictures to look old. So, the new papers are only used maybe by art
students studying the miniature or some Japanese commissioner choosing paper
for special work. It’s really very sad.
Unfortunately,
papermaking is considered a small-scale industry, not a craft. (With concern) So, you can’t get the Crafts Museum
to help out. I believe Pune is making wonderful paper now. But we do have
traditional skills. Why are we allowing those to go waste?
Was it the narrative
quality of the Rajasthan, Pahari and Mughal miniature schools that drew you to
them?
The narrative
quality may be one factor. Maybe it’s the other way round. It could be that
miniature painting attracted me to the narrative. Perhaps also medieval
European painting, Italian paintings or Flemish paintings of the early
Renaissance. But there always has been an interest in narrative painting
through traditional sources at Baroda.
As in Subramanyan’s early Lucknow
mural. That was the entry and I got involved in it.
In what way did ‘When Champa
grew up’ prove to be a turning point?
When I started
working on paper in 1982, I began thinking on a more intimate scale. It throws
up possibilities which might not have seemed right on a large painting hanging
on a wall. I had planned to work on this real life story that had taken place
literally in my backyard, but it was important to find a vehicle for that.
(With
intensity) How could I talk about
these things without making it banal or seeming righteous or pompous? Looking
at it from the outside and making a declaration about it? There had to be some
way I could enter it. One way was to look at it as a book or unfolding story. I
considered using text along with it. I realised, with Gulam’s help, that there
were garba songs on bride-burning.
That became a clinching fact. I tried to visually translate the way the voice
had been traditionally used. After I did these paintings, we located some texts
that could alternate with the visual images. It was almost as if the paintings
were illustrations for the songs.
In contemporary art, there
appear to be stances against the beautiful. Yet, in your work, there’s a
quality of accessible, acceptable aesthetics. Is this an offshoot of your
personality?
Perhaps it comes
quite naturally. I think modernism is full of guilts. Guilts of overcoming
realism by modernism. It’s as if you have to repudiate something to discover
the real thing. You shouldn’t feel guilty about the means that you use. It
should be natural and integral to you. Take the notion of illustration. I
believe that most of the best paintings in the world are done as illustration.
I think beauty can be a vehicle for the most violent of sentiments or
attitudes, it should be allowed to contain other things.
(Passionately) Or take the guilt about
sentiment, which I feel is a false guilt. You don’t want to make sentimental
paintings, but sentiment is part of your life. Perhaps certain attitudes have
come into modernism because art was primarily being practised by men. So, the
notion of strength became tied up with more male virtues. I think that strength
needs to be redefined.
How would you assess today’s
generation of Indian woman artists?
I think they’re
fairly individualistic. Without taking on a heavily feminist agenda, they’ve
learnt a lot from each other ~ by linking together, by staying together, by
writing about each other.
(Thoughtfully) Today, my one big regret
is that I couldn’t meet Meera Mukherjee before she died. She needs to be talked
about far more; she’s a very major woman artist. Though she’s a sculptress ~ it
always takes me a little more effort to relate to a sculptor than a painter ~ I
feel she’s someone from whom I could have learnt a lot. She’s able to talk in
one breath of the monumental and the iconic, the mundane and the personal, even
the minor. It’s remarkable. I don’t think a male artist could have done that.
That’s special to being a woman. That’s the kind of pleasure we take in each
other’s work.
Over the last ten
years, looking at other women’s work has given me enormous strength. Our concerns
are very different from those in the west. Many of us come from very privileged
situations because we have family support. Many of us have married artists or
people connected with the arts. Many young woman are daughters of artists.
It would be wrong
to say woman artists have no problems in India. We certainly do. Getting to
a professional stage might be a problem… I think Amrita Sher-Gil did us a lot
of good. Having got into the mainstream early on, that position of the woman as
a professional practitioner was established.
But there would
still be problems with the kind of work one does or the kind of groupings one
makes. When I was painting in the 1970s, a very major artist said to me, “It’s
all very nice. You paint very well. But why should you always put your children
into your paintings?”
Do you feel that being a
woman is an asset to being an artist?
I’d say that, I’d
say that. (Chuckling) To find my own
voice, it was important that I was a woman. It has to do with ownness. If I was a man, then perhaps
I’d have far less resources.
What made you choose tempera
and casein as your medium?
I started working
with tempera on paper in 1982 because my paintings before that were beginning
to look like tempera paintings. It seemed necessary to make this shift. I was
also getting more interested in the traditions of Indian and Asian painting,
which used tempera.
Later, I began to
enjoy the medium for itself. I mix my colours myself when I work on a large
scale. These colours have an intrinsic quality of their own, which gets
neutralised by a medium like oil or acrylic. The colour quality remains the
same, but the surface qualities tend to get neutralised. But in tempera, a terra verte would be different from a
crimson. An earth colour would be different from a dye colour.
I’ve often thought
I would like to work on a very large scale and casein has become a wonderful
solution. It is more user-friendly than gum tempera. It’s waterproof.
To shift from miniature
painting to the ‘Shamiana’ and your screen-like work in theatre… The scale
changed dramatically, but the concerns remained similar. Were you testing your
reach?
Strangely, there’s
a similarity between a very small work and a very large work. I think it’s to
do with realism. When you’re working on an easel painting, it’s connected with
the human scale which the Renaissance developed. When you’re working on a scale
that has potentially a different relationship to the human body, a standing
relationship, it’s different. Whether it is a hand-held painting or a
room-sized mural, the way you deal with representational gestalt can have
commonalities.
I enjoy a physical
relationship with my work. I think it’s more difficult to work on a small scale
than on a large scale, apart from the problems of an ageing body. Because it’s
not just your hand that can lead you on. It’s your body that is in it.
(Originally published in Sunday Herald, 1998)
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