'Midst': 22 x 42 in. each, Oil on linen canvas |
(I wrote this catalogue essay on Shivani's abstract paintings for the Mahua Gallery, Bangalore, in 2009)
Still centre of the
unknown
(An encounter with the abstract paintings of Shivani Dugar)
Abstract paintings are fictitious models
because they visualize a reality which we can neither see nor describe but
which we may nevertheless conclude exists.
~ Gerhard
Richter
There is a sense of atmosphere, there is
an approximation of music and, what is most important, there is a throbbing
mystery about the very process of viewing and responding as if one is sucked
into some still centre of hitherto unknown experience.
~ R.L.
Bartholomew on V.S. Gaitonde’s abstract paintings
Abstraction in art often seems inexplicable. Or permeated by an unimaginable secret code. It
seems ever-changing, like wispy clouds that morph and waft and vanish into
forever. Or the surge in the depths of an indigo vat. Perhaps like the drifting
icebergs off Antarctica that seem of the
southern continent, yet above and beyond it. Like the chattering of squirrels,
a twittering of birds in a cherry tree outside a bay window, unfathomable to
the lay ear, yet cogent within its world.
This
intrinsic subtext imbues the paintings of artists who veer away from the tried,
the tested, the tangible. They brush past the figurative, the immediately
cognizable, the near-photographic modes of representation. Instead, their
outward expressions delve into their innermost chambers, where thought and
emotion integrate into a terrain that changes colour and pulse with the moodiness
of inner Ladakh landscapes. Such creative spirits take the viewer on a near-yogic
journey into the sense of essence, the breadth of breath, the calm core within
infinite flux.
Shivani
Dugar’s passage to light, to the realization of her own artistic pulse, turns more
than a sidelong glance at Richter and Gaitonde, at their mastery of the metier.
For her oils on canvas today have emerged as meditations on nature, as wordless
paeans to the beautiful unsung, to its unnamed hues, its intrinsic moods,
vistas, melodies.
Her
landscapes travel deep, into silences beyond forms and themes, bounding over
mountains and rivers, seascapes and ocean drifts, the legacy of leaves, stem
and bark, the loamy-sandy history of soil. She chooses hues that have yet to be
named, terrain yet unrecognized, almost inter-galactic interstices, yet serenely
poised within its own certainty.
Shivani’s
certainty has been sculpted by her artistic explorations. For instance, by
watching her mother paint at home, by imbibing her spiritual inclinations, the
meditative chakras as visualized
through landscapes – where, for instance, red embodies the earth, orange the
water, green the air, purple stands for space, and so on.
Her
galvanic change from within became an electrifying force when she relocated to New York City, where she
did a Master’s in printmaking at the Pratt Institute. Shivani was drawn into the
whirlpool of the art, its cross-hatching, its intricate linear passages, the
gentle planar quality of lithography, the uncertainty that was built into the
practice. She learnt to eschew the decorative for muted innate expressions. She
veered away from architectural forms to paint from feeling while engaging with
natural planes and spatial relationships.
En
route, Shivani sought to express the awesome magnitude of landscapes, but in an
individual, unconventional way. She would mull over Gaitonde’s paintings, seek
out their infinite communication through an indecipherable code. Equally, she
delved into the world of Richter, his multi-track evolution, his nuanced
questionings, his breakaway forays from photo-paintings into abstraction. That
led her to other voices with similar souls, like Somenath Maity. Or the
UK-based magic realism, the chimerical qualities of Canada-born Peter Doig, who
often pays tribute to Le Corbusier.
Her art is deeply rooted in
reminiscence, but not for the immediate past or for distant dreams. Instead,
her yearnings stem from nature. Her canvases gaze inwards at an atavistic past,
at omnipresence on a solular journey centuries ago, at meditation on
transience, even on inner certitude.
Detail from 'Search': 40x40 in, oil on linen canvas |
Shivani’s moods, once abstracted,
reflect those of the seashell that sings of an inner surge, of the butterfly
bound for the cloud on horizon, of the blue beetle that claims the clinging
vine as home. She expresses nishabd
or the voiceless through banded, ever-layered hues, through prismatic seeings
into the unseen.
Light imbues her delving into the
darkness, almost like a deep sea diver in search of the rarest of pearls. But
unlike that simplest of passages, Shivani’s ebb and surge, quietitude and
implosions, take the viewer back to a classic Indian concept: that of the
trinity of the deities Brahma, Shiva, and Vishnu, who represent creation,
dissolution and regeneration.
Distilling essences seems to be Shivani’s
forte. Like her illustrious predecessors in abstract art, she evokes the
transcendental, the timeless, the contemplative and the poetic. Amidst these
trajectories, she binds yet unwinds the flexi-connections between the earth and
the sky, the rocks and the ripples, the space and the sea, the sunset and the
moonbeam, the inner quiet and the outer retort. For can these ever be expressed
in word or photograph, on stage or on screen? Perhaps not. For only painted
abstractions or soaring music can do them justice.
This truth has been proved before by art stalwarts
like Anselm Kiefer and Achuthan Kudallur, Jackson Pollock and Nasreen Mohamedi,
Sam Francis and Viswanadhan V.. Perhaps Shivani feels in sync with what Pollock
once said of his experience: “When I am in my painting, I'm not
aware of what I'm doing. It is only after a sort of 'get acquainted' period
that I see what I have been about. I have no fear of making changes, destroying
the image, etc., because the painting has a life of its own. I try to let it come
through. It is only when I lose contact with the painting that the result is a
mess. Otherwise there is pure harmony, an easy give and take, and the painting
comes out well.” And maybe she connects as easily with Kiefer's words: “All
painting but also all literature...is merely a process of going round and round
something inexpressible...”
It is the inexpressible moment that
Shivani expresses through her broad strokes, her inner gaze. She is in her paintings, as much as of them, and yet a meditative detachment
steeps through them. She participates and alters, visualizes and demystifies, allowing
the intuitive impulse, the non-imagistic ground, the overlayers of pulse on the
serene first coat, to break free, to breathe, even to just be.
For, to Shivani, her abstract landscapes
are often about air, fire, earth, water, and space, essentially “their depths,
emotions, moods, the warmth, the coolness, the movements, the drama, the unseen,”
as she couches it in words. Her textures and tones hint at the unheard, the
unseen, the untouched.
Shivani’s intent remains both subliminal
yet spirited, with spirituality at its core. Submerged within, subsumed by
natural abeyance, her intelligence grapples with the moment with intensity yet
respect, with both bhakti and shringara, resulting in cadences that
speak with the rasa of Odissi, the
unheard notes of the shehnai, and the
thunder of a waterfall, all intermingled in a moment. Perhaps that is her
fiction, her reality, the call to her persona from the still centre of the
unknown.
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