A Tribute to Artist M.B. Patil

In this insightful article, H.A. Anil Kumar contemplates M.B. Patil’s artistic contribution to the arts, and discovers he has made a statement by just being the way he was and that for him, the act was more relevant than the product

It was already two decades since he had retired as an artist employed with the State Government (Department of Information and Broadcast), when M.B.Patil (born: Tikota, Bijapur, 1939-2017) passed away recently. When he had freshly retired in the late 1990s and held a solo show at ‘Images’ gallery, Bengaluru, another artist-friend of his, K.T.Shiva Prasad had inaugurated it and given a piece of advice to the exhibitor: “Patil has retired now as an employed-artist, let him be creative from now on”. Most in the crowd smiled, giggled and laughed at this tongue-in-cheek remark, while Patil himself had his usual smile, which was not easy to decipher. It was a prejudice that ‘an artist who is not a freelancer is not creative enough’ that was unveiled and vented out during this occasion. Artistic activities are bound to be defined by what art means in any given, specific situation.

Patil’s artistic works might be as mysterious as his smile was: his works can be broadly divided, style-wise, into three categories: the collages, folksy images and his demonstrations, mainly portraiture. The burnt-wood style, for which he has been often so remembered, squarely fits into his folksy style. Perhaps painterly folk representation was already a tradition among Karnataka artists. Like many of his contemporaries (Chandranath Acharya, R.M.Hadapad, S.G.Vasudev), he did meddle a bit with the art of art direction in a few docu-drama films. Often some artists of Karnataka have been so varied in their styles that any amount of categorization style-wise or otherwise, would become impossible (ex: the visual works of R.M.Hadapad and Shivarama Karantha’s literary oeuvre). On the contrary, some artists are so well known for their unique styles, that there are even too many imitators of them; and those who generated the style themselves get creatively imprisoned in this demand for the ‘politics-of-imitation’.

Artistic Touch to Festive Decor

Adapting a décor which is constructed around traditional thematic elements is a great way to highlight rich ancient content in a visual format and to create an interesting and unusual décor

This month as the festivities continue, every day of Dussehra is celebrated with great joy and fervour. Rich in symbolism and with a specific cultural and religious connotation each day is associated with traditional rituals and is celebrated accordingly. The ninth and the tenth days of Dussehra are celebrated as Ayudha Pooja and Vijayadashmi. During the festivals, traditionally weapons were worshipped; however these days tools related to respective professions such as electronic gadgets are also worshipped. Goddess Saraswati as the symbol of knowledge, music and arts is offered prayers to invoke her blessings. The importance of celebrating these festivals in a traditional manner helps in emphasizing their significance and also in inculcating cultural values in the younger generation.

Artist Shraddha Rathi, Image courtesy Rupali & Gaurav Bhatia

During this occasion, traditional arts and crafts can be used in décor to create an ethnic ambience that enhances the festive spirit, as well. Mysore and Tanjore paintings and folk and tribal art with its symbolism associated with festivities are some of the artworks that enrich the environment. Look for traditional paintings that depict scenes from the epics and narrate mythological stories. Oleographs and prints of paintings by Raja Ravi Varma and his contemporaries depicting vignettes from mythological texts add a great interest to the décor in terms of rarity, beauty and traditional significance.

Adapting the décor by accessorising around traditional thematic elements is a great way to highlight rich ancient content in a visual format and to create interesting and unusual décors. Art based on mythology and legends adds to the visual narrative and its rendition can be either traditional or contemporary.

Image courtesy pixabay

For instance, many contemporary artists transcribe text from religious books and scriptures on their paintings and also sculptures and installations which can add an interesting dimension to the festive décor. Incidentally, a few artists also paint musicians on their canvas and create sculptures around musical themes. These can form the perfect accessories in the décor.

The significance of music, musical instruments and other symbols of fine arts, learning and knowledge is primary during Ayudha Pooja and Vijayadashmi. A creative display of musical instruments, especially vintage instruments which exhibit a fine craftsmanship make for an interesting addition in the décor. Antique wood and brass instruments are not only rare, but also exceptionally beautiful and must be displayed with care. These can form the focal point in the décor and can be exhibited on raised platforms or pedestals. Use appropriate and creative lighting fixtures to highlight the aesthetic elements and craftsmanship of rare artefacts.

Similarly, unusual and antique statuettes, figurines and silver and brassware emphasise ethnic nuances and contribute to a traditional look and can be used as part of the décor or as functional objects.


The writer is an art consultant and curator

Published in Times Property, Bangalore 

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Terra Firma in New Delhi

Looking for balance and harmony in nature

Terra Firma presents recent works by four leading artists of Karnataka - Milind Nayak, Gurudas Shenoy, Shirley Mathew and Praveen Kumar at the Habitat Centre, New Delhi. Their works relate to the existing urban scenario and reflect on issues related to humanity and its co-existence with nature. All four artists are proficient at expressing structural and natural forms, in various medium and distinctive colour palettes. Their paintings evoke poignancy and deep contemplation as they explore the urban landscape with all its inherent beauty and conflicts.

 

Art News: Heritage ‘per square feet’ at Venkatappa Art Gallery

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Third in the Sambhrama series, Heritage ‘per square feet’, presents works by Mysore artists in an exhibition curated by Shoaib Chadkhan and Anil Chandran. The show offers paintings, performance, talk and panel discussion to probe, inquire and explore the subject in varied dimensions. The Karnataka artists' resistance to the adoption of Venkatappa Art Gallery (VAG) began in February 2016, and saw a series of artistic events and protests since then. 

As part of VAG Forum's ongoing artistic activities towards a creative reclamation of public space, organizing an art exhibition/event for 10 days once in 45 days, has been taken up by the VAG Forum, which comes under the name 'Sambhrama'.

Ganesha in Multiple Forms

Ganesha, symbolic of new beginnings, success, wisdom and generosity is worshipped on Ganesh Chaturthi, a Hindu festival that reveres the elephant God. The ten-day festival is celebrated starting on the fourth day of the Hindu luni-solar calendar month Bhadrapada, which typically falls in the months of August or September.

S.G.Vasudev, 31cms x 31cms, Relief in copper

The festival is marked with installation of Ganesha clay idols in homes, or in public spaces on elaborate pandals. It ends on the tenth day after start, wherein the idol is carried in a public procession with music and group chanting, then immersed in a nearby water body such as a river or ocean, thereafter the clay idol dissolves and Ganesha is believed to return to Mount Kailasha to Parvati and Shiva (source - Wikipedia)

With greater environmental awareness, there is an emphasis on eco-friendly materials  to minimise pollution of water bodies.

As the festival marks Ganesha's birthday, and celebrates him as the god of good beginnings, prosperity and obstacle remover, he is worshipped across the country with equal fervour during festivals, rituals and other celebrations.