Eloquent Brush

Review by Subhra Mazumdar
October 15, 2011


Review by Subhra Mazumdar
October 15,2011

Rajat Subhra Bandopadhyay
August 1-10
Triveni Kala Sangam, New Delhi

A graduate from the Government College of Arts and Crafts, Kolkata, Rajat Subhra Bandhopadhyay has stoutly exploited the texture that water colours give off, when working on acid-free paper. This month he holds his first-ever solo show, titled Relate, at Triveni Kala Sangam, New Delhi. A former ad-man who during his college days took to the water colour medium with rare zeal, has made it his artistic leit
motif stating: The water mixing with the colours in layers and the transparency of this medium gives me immense satisfaction as an artist.' The rigorous preparatory years at college and his own technique of proper wrist work in handling the brush across the paper surface, has provided him the requisite confidence and mastery.
Naturally, his inspiration comes from his former teacher, Ganesh Haloi whose work he admires for its 'layers of depth and softness of the flesh' His own choice of realistic portraiture has madem him choose a riverine landscape of is home state. Anchored country boats, stretches of placid water and boulders and trees are familiar icons in his art.

Alongside his outdoor settings of the riverside, there is a fresh look at naturescapes that are now emerging in his art. These recent work have been deduced into surreal compositions where the central female form conjoins a riot of colour ansformations, suggesting an alchemy of experiences. Using a technique of colour wash, blowing and dribbling, the artist traces a journey both slow and enriching, where graphic contours of objects and forms are non-existent and meanings become personal discoveries and vistas expand.

An interesting technique that conjoins his art across both the riverine series and the current one, is his treatment of white spaces. The confident strokes of his brush have enabled him to leave deliberate patches untouched, creating an interesting take on the technique of white inclusions on the surface. The discipline of a totally controlled application of colour, where the texture is nuanced into a meld, is what makes Rajat's art significant. The feminine central focus is thus a vocabulary of expressiveness, 'where the starkness of this form highlights the darker texturisation of the surrounding surface,' he contends. Thoughts are channelised into unfolding the story of mankind, of creation, of womanhood, of finer feelings and a myriad more… in those swirls that merge into a harmony as do the colours of his paintings.

Abandoned, Water Color on Paper