THOSE SPACES

Ajay’s artwork talks about how the people working in the mines of Jharkhand are merely treated as objects and the stores of those lands, the landscape of Jharkhand before and after the large-scale mining and its impact: natural and man-made. His work evokes both desolation and voyeur, disruption and beauty His work could be described as an attempt to go beyond these binaries. While Gayatri Spivak talks about the theory of “othering” in postcolonial, Ajay’s work shows how the glimmer of mica in a field of rubble expresses both the excavation and the treasure it has found. In fact he gets excited when talking of the landscape of his youth. It is covered with minerals, of various hues of grey and black, interspersed. Ajay uses minerals like mica, iron ore and manganese from the lands of Jharkhand…

I Don’t complete my paintings. I abandoned them My painting style involves combining the harmony of colours and depth achieved by the placement of the transparent or opaque over tones by controlling the intensity with vicious colors, all dealt in swift, swiping lines, spots and streaks.

My paintings are the images of the nature. It is an honest attempt to paint the experiences and images deep in my subconscious mind which are concrete because, they are part of my life; my existence, my thinking process. My approach towards the nature is with an inbuilt structure. The interaction between myself, canvas and material go together. I am simplifying the form by using brushstrokes which represent the enigmatic images of structure in nature seen around for years.

The inbuilt tension between the forms, colors and texture fascinates me. The layers of colors which I use, result into simple harmony which is my language of painting.

This way painting might be seen as reduced to being only carrier of any possible idea. Transformation of nature turns to ‘My Nature’ which comes with total silence or peace in the painting. My painting is progressing towards the metamorphosis of nature into artwork in its purest form. So it remains in its ‘ABSTRACT’ form.

When I paint.. I am just the mediator.. The creator is someone else.. The creator is within and without me.. Some may call her mother nature.. The ultimate truth.. I feel him as Ishwar.. The omnipotent.. Rather nameless or more or less formless too… These feelings are abstract.. The urge is abstract.. I may not smell him..May not touch him.. May not see him.. May not hear him.. But I sense him.. He is the poetry in verses.. I sense him while painting.. I sense him in forms.. I sense him in colours.. He shapes and guides my painting.. For me painting is meditation.. It’s an ecstasy.. I am only a witness to the ultimate abstract within me, which appears on canvas in the form of painting

I like to tear paper, poke it, to break its rigidity and to see how much of me it can take I want to explore its layers, its possibilities without working in too much. I find objects on my walks around my house, a stone, a feather, a pebble. Layer upon layer, they leave an impression upon my mind, and then, the forms simply gushes out fast and furious.

Pure colour, pure line,
Pure shape, pure form,

Pure appreciation of beauty, Visual communication, visual character
Scenic beginning, scenic perspective
Scenic realisation,
Invisible in the visible

Eternally space
Microcosmic vision
Crystal clear emotion
Essence of realization.

Sweety works with different type of papers, Mirrors and she is inspired by the nourishing quality of fire.
Fire, for her, is a transformative principle coffers of nature.
Sweety details the method of her art by associating the act of burning to a transformative, progressive and positivist act.
She uses burnt dots on paper to imply the different aspects of her personal travails through life.
She takes inspiration from the eternally unfolding colours in a flame and injects it into her art by using different folding and rolling