|
|
|
|
|
|
|
|
|
|
Write-up by Laxman Aelay
About my work
As I have been closely associated with literature, poets, artistes, and movements, my psyche regarding my native has been gradually revolutionized. Literature and Telangana poets were my best source of inspiration from time to time. Thus, unlike my earlier work, where by 'Beauty' and 'celebration' of Telangana were portrayed as my chief motifs, now I have chosen the other side of coin, 'oppressed'/ 'subjugated' people of that region.
Formalistically, I moved away a step further on from the naturalistic language, very close to 'Realism', more towards symbolic-semi abstract; hence my vibrant palette is replaced by monochrome. The mediumistic shift also enabled met to play with Distortion, Mass of lines, textures, which replicate the wounds of tormented, and the meticulously rendered tonalities of the 'anonymous figures' that I used as the protagonists, are the most significant ingredients of my work.
Conceptually, the 'Anonymous figure' is a 'unique signifier', which generates multiple meanings. Hence, mine is symbolic art, where the 'real' and 'imaginary' come into play a pivotal role embraces both structural and metaphorical meaning, which enable the viewer to read various connotations.
Although, the 'style' / 'mannerism' in my most recent works, is more primitive, sculptural yet not tailored. 'Primitivism' still prevails in our (Telangana) culture; we adore goddesses/rural deities such as Pochamma, Ellamma, Maaremma, etc., in primitive forms. So I was largely inspired/motivated from the unresolved forms (made of wood& terracotta) of local deities, damaged/chipped out rocks of urban Hyderabad, and scratched boulders of the very region. In this investigation, I often occupy myself with space of 'substance' around me.
Subsequently, I am deeply engaged in exploring the Indigenous/native subjects such as massive boulders, rocks, diverse relationships of men and women of my region and their agony. My native people are here notoriously identified themselves with rocks, steady, rock solid, and strong enough to face any kind of situation, there is a simile/allegory in my subject. My community is strong like the very rocks n boulders that are unwavering against most of the natural calamities. I made an attempt to depict the 'self' as an 'insider', a tormented/under attacked 'subject' of archetypal Telangana.
As Foucault, a post-structuralist, explicates, the person in my paintings is a metaphor for a common man, who is constituted by hegemony of 'Power r& Knowledge' or subjugation. Hence, the figures are not associated with any other minor forms (ex: animals, accessories, foliage, etc., which I considered to be secondary forms of my earlier work), asserting themselves subordinate/inferior in the current premeditated socio political conditions.
What makes my representation captivating is the ability to bring out a 'haunting', often tormented essence in my forms. Right from my childhood, drawing and painting have always been mediums of expressing my pragmatic angst about my surroundings. Therefore, my art expresses my social hypersensitivity, 'personal' and yet it is so often 'bursting with politics'.
- LAXMAN AELAY.
Back to 'The River Underneath' Home
|
|
|
|
|
|
|
|
|
|