INTERVIEW

Interviewed by PRIYANKA MALIK

Q) Why ART as a profession. How and when did you receive your fist start (you can even mention about your first major break)?

Though I studied architecture (actually I was gold medalist in architecture In my batch-1993 from J N T U, Hyderabad), I have a very strong inclination towards art/painting and I used to paint simultaneously along with my regular studies. I’ve started my painting carrier with a group show in 1998, and a solo show in the same year, and an installation in the next year-1999. I used to practice architecture initially and never thought I would practice art as a profession.

My first break was when one of my senior architect (genesis- Chandra shekhar) called me to design a sculptural wall in stone for actor CHIRANJEEVI’s residence. I went unto do four different murals in different media- Italian marble, flamed granite and rough granite (3”) variety. All of the murals executed were successful experiments (as I have used those materials for the first time). Then I had realized the potential of this specialization, as it combined art and material usage technique and I got slowly diversified into this form of profession. Actually I designa) murals in different materials and most of the time a combination of them. b) I also design and execute the interior details and exterior details in architecture, more than a piece of art, which hangs on a wall. It is the (fine) art, which I try to gel into spaces external or internal according to the concept/ context (customized), which enhances the overall space. Actually I feel there is a strong need of art designers and for them to interact with architects and interior designers to infuse art at a subtle and sublime level into the spaces, rather than just art additions, (hanging paintings on the wall).

As an artist, designer and architect I can judge, design and fit into the specific context if interacted and introduced from an earlier date into a project.

Q) How do you approach your design brief? How your style changed over the years, if yes then how?

Design brief depends mainly on the context and nature of space. The other factors could be client’s preference/ reflection of his profession or character and architect/ interior designer’s visualization of certain areas. Approach to design brief is to ultimately freeze the ideas into physical reality. The process of creativity triggers at a subconscious level and gathers momentum (like a cyclone gathers clouds, dust and wind) by accumulating known forms and ideas related to the base concept.

a) I start analyzing and meditating on the basic/ root meaning of the brief/ context and conceptualize and develop it.As my philosophy is to translate design brief/ painting to respond to a particular context/ concept, I deeply dwell into my subconscious, certain times into my childhood images, the vivid stories and characters that were told by my parents and elders etc. sometimes I use the relative dynamics of physics and vertical cross-section of a flower from botany and still sometimes –the images of movement of HYDRA, from biology, in my design compositions.

b) I start to design/ compose by first listing out the brief and related information, and start drooling with my pencil, sometimes I get struck and start casually browsing the images in different books, sometimes totally unrelated books, magazines and images. In the process suddenly I’ll struck at a point and start sketching and developing it.

The basic style of my design approach has not changed much. But recently I’ve started referring some of the master’s works and get inspired by their compositions, which sometimes reflect in my work.

Q) What is favorite medium to work on and why? Any important tool that you cannot live without in your studio?

Obviously flamed granite (grey mahogany and telephone black). Once the work is finished it gives such a monolithic impact and subtleness that they can be fitted into most contexts without being called ‘gaudy’. In the painting side it is acrylic- the medium has such vast possibilities that it can be worked both as transparent and opaque media, and also can be used for texturing and layering. My 2mm steadtlerclutch pencil.

Q) What is the key element in your compositions? When do you know that you’ve produced a masterpiece and what is the hardest step in creating a masterpiece?

As I said previously the basic design philosophy is to respond to a particular concept/ context. I try to balance the composition and reduce my lines gracefully without distortion. I do not believe in distortion of images in the name of style/ modernism. In the first place I do not believe in style as it is nothing but conditioning. I neither consciously avoid my conditioning nor allow conditioning at that moment (when I am designing), I shall let flow the energy and rhythm. Once all the elements fall in place they move together harmoniously, and may be the fact that I am conscious about conditioning, I think I grow as an artist/ designer slowly (I mean to create better compositions).

This is what I know about my approach and regarding the key element in my composition, you should be able to judge it better, as I wont segregate or over emphasize certain elements deliberately.

Sometimes it would be hard to find a design solution to a design problem. And yet sometimes you arecompletely free and with yourself, loving, calm and enjoying the process of creativity, then things fall into place and result in producing well, sensibly and lively work. Some may call them masterpieces, but if you try to assume that you are creating a masterpiece it can never happen. Masterpieces happen, they are not created consciously.

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It is with sheer love, burning passion, lots of practice and maturity as a person, can only create such a class of work. It is total release, meditative, grace with experience and sensibility that matter and not trying hard to create something and calling it a ‘masterpiece’.

Q) Where do you gather your inspiration from? Do you look up to someone in your field?

I have always has this in born urge/passion to create or paint something. Just by looking at a set of colors I get inspired to paint, colors always fascinate meand may be I am intuitive about them.

Somehow from very young age (around 18) I have this strong inclination towards Indian philosophy/ religion. I was a member of the theosophical society when I was around 21 years. Initially started withJiddu Krishna Murti and Osho and went to develop interest in Buddhist philosophy and his realizations. When I went through his readings I was astonished to see how elaborately he details out his psychological findings and his DHAMMA, and with the kind of versatile vocabulary to explain the minutest detail clearly, that too 2600 years before.

Also recently I have started developing interest in Indian history and culture, Transition, development and spread of religious concepts, prominent and inspiring men like KRISHNA, BUDDHA, ASHOKA, SHANKARA, VIVEKANANDA, MAHATMA GANDHI. My paintings/ compositions may reflect the influence from the above inspirations.

Another major influence is nature. While on a morning walk I notice centipedes, millipedes moving across, I wonder what kind of magnificent architecture went into these small and different creatures, their food, locomotion etc. Different flowers, different leaves, their shape, color, pattern, formation, grouping etc., I observe all these and just by looking at a landscape with depth, my mind opens up and an extra space is created. I feel mysterious and intriguing when I look at the star studded night sky.

I am not an atheist or theist, as one believes in the existence of god and other believes in the non-existence of god, as both are believers they remain at a superficial level. Only an inquirer who questions is serious and I am an inquirer.

Yes, I look up for inspiration from certain masters, but not on a permanent basis, I mean not to get attached or totally get influenced by them. I wonder and get inspired by looking at the astonishing spread of energy of LEONARDO in different forms of art and science and his ‘strong will’ to create those designs , and that too with lots of precision and detailed study, PICASSO’s restless effort in trying different styles and media or consciously breaking his own conditioning over a period of time. RODIN’s realistic sculptures with grace and simplistic style, GUSTAVE KLIMT’s geometric patterns and designs and VANGOUGH’s vivid compositions, they all inspire me.

I am recently working on a series called UNMASKING KRISHNA, in which I am trying to bring out historical Krishna from the innumerable interpolated stories and mythology that completely change our perception of Krishna.