Showing posts with label Art & Architecture. Show all posts

January 03, 2019

uestions, asking them and lots of them. When we visited Varanasi as a part of our study tour, we're encouraged to ask locals questions and conduct interviews. I'm glad I could muster up the courage to take one such interview. And I'm glad I did. Here's the interview, redacted to prevent privacy of those concerned.


How did you actually make plans to come to Varanasi? Is it the place itself, or is it the kind of work that you do?
A: It’s actually related to my research because I’m working on temple architecture. So, for my Ph.D., I looked at the temples in Delhi, and then I got a chance to come to Varanasi by finding a residency so now I’m looking at the temples in Varanasi.

That’s so nice. So since you’ve lived a Delhi for quite a long time, could you tell us how do you find the culture of Delhi different from the culture of Varanasi?
A: Oh, it’s very different! Delhi is a metropolitan city. There are lots of people coming from different places, lots of facilities are available and the city itself is much bigger than Varanasi. The way people move and live in Delhi is very different than they do in Varanasi. In Delhi, people are very busy and concerned about their own work.

There aren't many rituals happening. I mean, there are rituals happening but they aren’t deeply rooted in the city unlike they are here, in Varanasi, I won’t talk about the very old Islamic parts of Delhi, they’re different. In Varanasi, people in a family have been staying together for generations, so there are things like food, power, culture, and music which have very old cultural roots in the city.




As an architectural enthusiast, can you throw some light on the underlying layers of fabric that intricately yet beautifully weave the city of Varanasi?
A: Although I’m not really sure about what is it that you’re referring to, but yes, this is also a difference between the city of Varanasi and Delhi. In Delhi, especially the southern parts of Delhi have very wide and paved roads. So the urban fabric is very different from the fabric that you have in Varanasi. Most of the city, at least the old parts of the city is small galis, so you can’t actually move through the cities with cars, you’ve to walk through the galis.

The first time you change cities of residence, you find yourself in a cultural shock, which can be either due to a difference in your expectations of the place and reality or in the lifestyle being different from your former place of residence. What were those shocks, and how did you manage to cope with them?
A: At first there was a huge difference, coming from a very small village in Germany, which had 500 people living in the village, so the difference was not only, like a change of country, or a change of setting, but generally, coming from a village and moving to a city where there are millions of people was a big change.  In Delhi, everything is within a walking distance.  In terms of living, I used to live in a hostel, which means the facilities I had were very basic, I didn’t have my own kitchen and I had to share my bathroom with 30 to 50 other girls. I wanted to do my Ph.D. so I couldn’t complain!

Coming and staying in Varanasi, of course, is very different because here I have two rooms, my own bathroom, there’s a kitchen where the cook prepares food every day, I’m not used to that kind of luxury, even in  Germany I don’t get to stay that comfortably.

August 25, 2018
When I found the walls at the National Gallery of Modern Arts brandishing abstract works, which is my new-found area of interest, made by Australian tribals, I couldn't resist arranging a tryst. I'm dropping a quick post featuring some of my favorite works:










Don’t be satisfied with stories, how things have gone with others. Unfold your own myth. ~ Rumi

August 12, 2018
Appreciating art was something I wasn't always good about, it all came to me over these years as I went about studying artists and architects alike. But there's this thing around which I couldn't just wrap my head, abstract art. There's this guy named Mark Rothko who is into abstract expressionism. For instance, here's one of Rothko's works, Four Darks in Red (1958).


So, while one of my friends back at my university, School of Planning and Architecture, went about singing praises on how deep a meaning his works hold and how some of them are valued at millions (one of his work was sold for $87 million), I asked myself,
Isn't this something I can do, too? Or, for that matter, we all can, too? What actually is abstract art after all, painting swatches?
This was all happening while we're huddled together in a metro train slithering its way through the subways of the city while we're on our way to an art exhibition at Gallery Threshold (hosted by Ms. Tunty Chauhan) displaying Pandit Khairnar's works which were critiqued by Georgina Maddox.

While we waited in the metro, where the breeziness of air conditioned gusts flowed freely, my friend tried his best to convince me that abstract art can be though of as a stage or a level, and isn't a stage or a level that you can reach when you're just starting out in the field of art, because that's when you'd be testing the waters, and also that's when you're just naive. What made Rothko's work stand out were the fact that they were created by Rothko, because years of exploration has made him achieve a level on which you and me aren't at yet.





He even beautifully quoted Picasso!
There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.
We reached where there was a hall, the walls of which proudly displayed works of Khairnar, and while I meditatively tried to engage in a conversation with the works of his abstractness, Pandit Khairnar stood there besides me, albeit silently and still, and it was his works which did all the talking.



Our brain is terribly wired. It forces me to look for forms even when I know I was looking at an abstract art, and so I could see dark patches in his work, which looked almost like spots in his paintings. On inquiring him, he said that they weren't intentional. It's just something that he had in his personality that he later found being transcended into his art. And that's when it struck me.

Beyond the abstraction of the celestial that he consciously wanted to portray, beyond the romance of day and night that he witnessed in the skies, there was a sub-conscious that sneakily made its way into his art forms, and that is what forms the aura of the whole artwork. And also that's the reason why I can't paint a square swatch and sell it for potentially millions, because as of now, my personality cannot descend into my work, it'll only comes with years of exploration.

I couldn't really have learnt this if I hadn't had the chance to see the artist and his works together. I asked him to pose against his favorite work, the one which he felt himself the most attached to, and it was this:


I'm grateful to Vandana Kothari Ma'am for this enlightening lesson and the wonderful insight that came with it.

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