Sekhar Roy is not concerned with the problem between relations in the painted space rather the active and neutral elements amidst opposite markers. His idea in his present series is to define an opposition and control the tension in his painting through space, matrices, images and colour to bring out a crisis, established by a gesture and holding such elements on check. It is evident in the fact he uses light and keeps the source as a revelation of some kind of the spiritual. It becomes apparent viewing his work that solitude in his painting which awakens and takes its shape in silence.
In the present series, there are attempts to compose, to invent. He stresses the deliberateness of his process and enumerated the ingredients that constitute his painting and measures them carefully. He considers his jagged figures to be actual objects that he positions on a stained field. His paintings are not arrangements of those flat architectural markers that divide the picture plane, nor are they vast atmospheric backdrops but sublime texts where he uses light and keeps the source as a revelation of some kind of inward and natural trepidations of the soul. The works embody a strong sense of theatre. He makes pictorial and aesthetic sense out of a personal despair and its experience of a torn and injured world.
In Roy’s vision, each work in the present series is a distillation of a specific moment; an energetic figuration notable for its fluid brushwork. The body of work subtly suggests their lines advancing into a grand scale full of faintest of incidents. In layers of gestural brushstrokes that suggest movement in space, the artist captures the rich drama of the soul. The abstraction and figuration takes place in quiet harmony. It is distanced and calculated in its conception and allusive effect, but in its execution it is emphatically direct and visceral. He achieves a cool, detached contemplation of the often turbulent splendour of the nature. But presented to a public gaze, other rare variables open up. The results vary from large in form from the largely vertical stroke to the long diagonal sweep to the small broken marks on the paper. Where colour has been deployed as a vehicle for expressivity; each canvas serves as a metaphor for meaning and mood.
Roy’s works are clearly flamboyant efforts, but they go beyond a mere display of physical and emotional fine tuning. They address, in a nicely oblique way, some of the present concerns of a meaningful practice today. Though the metaphor of illusion is basic to these paintings here like neutron stars they don’t emit light but keep it in. the compulsiveness of the little gesture out of which they are made lends them a private, even sublime character, and the push of this compulsion against the narrow range of overall effect is what gives Roy’s work their power and mediate upon the final disjuncture between consciousness and the physical world, upon the irreducible commensurability between thought and experience. He pursues a development that is at once instinctive, sensuous and fluid.
The exhibition can be viewed from Monday to Saturday, 12 to 7 p.m. excepting Sundays and is also available online at www.aakritiartgallery.com
Preview on 16th February,2012 at 6.00pm.