(I wrote this article in 2003. Three years later, Arakkal won the Lorenzo de Medici gold medal at the same biennale for his panting, 'Bacon's Man with the Child and Priest.' )
IT’S NOT every day
that an Indian artist wins a major international award in Europe.
That’s why collectors and laymen alike took note when Kerala-born,
Bangalore-based Yusuf Arakkal was awarded the silver medal for new media and
installation in December 2003 for his triptych, ‘War, Guernica re-occurs,’
at the recent fourth Biennale Internazionale Dell’Arte Contemporanea at
Florence.
'War, Guernica re-occurs' |
What does recognition
for the work, comprising three 8 x 3.5 ft. panels, mean to the 58-year-old
Arakkal, formerly a Hindustan Aeronautics Limited (HAL) employee, known today
for his large figurative canvases and his candour about contemporary issues?
How does it connect to his recent series of oils, titled ‘My Book of References,’
which incorporates images from global contemporary masters into his canvases?
At his sprawling,
multi-canvas studio in Brookefield, overlooking a spray of bougainvillea,
Arakkal paints rapidly, often to the strains of Hariprasad Chaurasia or Ghulam
Ali, Jagjit Singh or Ali Akbar Khan. Here are excerpts from an interview:
With the silver medal at Florence |
What does this
award mean to you?
I think an award is an
award, just another milestone. This major European award is a recognition of
the Indian art scene… When I received the National Award in 1983, I wrote
behind the certificate: ‘Success is a disease. Prevent it getting into your
head.’
Why did you
choose this triptych for Florence?
Do you remember the ‘Gujarnica’
I painted after the Gujarat carnage? (Intensely)
That was an immediate reaction, more emotional than rational. I even went to
Gujarat, but my Baroda
friends put me on the next flight out. They were afraid I’d say something that
would land me in trouble. That’s when sarod maestro Rajeev Taranath suggested
that I should paint a canvas.
I received the
invitation from Florence
about a year ago. Initially, I thought of a series of small canvases for the 10
x 12 ft. space allotted to international invitees. I wanted to protest against
war and terrorism. I went back to Picasso’s ‘Guernica’, the ultimate in protest
against violence. I studied his process. I’d seen the original at New York’s Museum
of Modern Art. So, I took
dark images from Biafra, the Iran-Iraq war, My Lai at Vietnam, manipulated them by
computer, screenprinted them in oil onto canvas. Then, I began to create the
triptych over almost three months, using a proper academic approach.
What did the
process involve?
While working on the
tryptich, I acquired a new Epsom archival printer, with which I created
graphics from these images, which helped me with my canvas. A separate series
that I called ‘Conflict’s Children’ emerged, exhibited along with this
work in Bangalore before it went to Florence.
What makes the Florence Biennale special?
This biennale, which
is only eight years old, hopes to give importance to every kind of art
currently being practiced. Maybe they hope to rival the Venice Biennale. There
were academic, super-realistic canvases, ultra-modern installations, amazing
sculptures, work in five different categories… The first prize for new media
went to an American woman of Chinese origin, who brilliantly used curtain lace
with calligraphy.
Why is India
an area of neglect in global contemporary art?
We’ve been projected
as a nation with traditional or Tantric art. We don’t talk about our
contemporary work or try to get publicity, which the government or its
organizations should have done. Basically, nobody knows about our work, though
the Chinese, Koreans, Japanese, Singaporeans were represented at Florence. (Plaintively)
In my acceptance speech, I asked the committee to look into south Asian art
more.
The art world believes
its boundaries end in Europe and America! You know, contemporary art
is big business within a closed circle. Just as it’s a closed Mumbai-Delhi-Kolkata
circuit in India.
Does that leave
south Indian art outside the main frame?
I think artists in the
south are very individualistic. In 1980, I worked at the Garhi printmaking
studios for a year. I could have established myself within two years in Delhi; instead, it took me
30 years here. But I was afraid of losing my originality, getting into the rat
race. In the north, artists tend to follow trends from New
York and Paris.
When I take
inspiration from another source, I openly acknowledge it…
‘My Book of References’ stirred up a debate about
inspiration and imitation. Did you walk into this potential minefield
consciously?
The first series
traveled around India, while
the second went to London.
It was like going back to school…In Berlin
in 1990, I did a series of about drawings based on Kathe Kollwitz’ works at her
museum. Once back, more paintings resulted.
I wanted to do a
series of oils, based on the world masters. From then on, I looked at originals
with a critical view to how I could adapt them. At first, I copied key images
directly onto my canvases, which worked to an extent.
When I was showing
David Hockney the work I did based on his elephant, he asked: ‘How did you
foreshorten my elephant?’ That’s because my son Shibu showed me how to work on
Photoshop. I could visually manipulate images, disfigure or transform them,
before transferring them onto canvas. This second series worked better. ‘Gujarnica,’
and the painting for Florence
resulted from those experiences with computers and paint.
All art is a process
of continuation. Take Picasso, the greatest thief of the 20th
century. He replicated Ingres’ drawing, but he made it his own. Even if he did
a copy, it became a Picasso. I’m only following the same path, historically speaking.
Now that contemporary art is no longer confined to
traditional painting or sculpture, how comfortable are you with its
redefinitions?
I started with a
certain philosophy. I can’t overnight change that because, then, I cease to be.
It’s a limitation imposed on me. I’ve got to stay within my domain, not
transgress into others’ domain… But I do study new media work and
installations, see how it works and accept it. If there’s something to respect,
I respect it.
(The Hindu Sunday Magazine, 2003)
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