SPOTLIGHT ON: Ompal Sansanwal

When eminent New Delhi-based artist Ompal Sansanwal ended his 15-year hibernation with a solo show, held at the Bikaner House in New Delhi in April-May this year, it seemed like a great opportunity to finally see a full exhibition in person, of the works of an artist I've admired for long.

The exhibition, 'Jiva', featuring 60 paintings of trees and the diverse ecosystem they nurture, was curated by art historian Uma Nair and was presented by Sanya Malik's Black Cube gallery. The trees sprouted all over the venue through canvases in bright, solid colours such as yellow, blue and red. On some canvases, there were massive trees cradling stories and civilisations, while on some others, well-known stories were expressed through perpetually expanding roots and branches of trees, that not only defined the landscape but also the bodies of the figures. 

The most arresting of these was the tree-Nataraja in bright yellow and red, which incidentally, was also the latest work from Sansanwal's repertoire. Uma Nair, the curator of the show, said about this painting: "The Nataraja created with branches of the banyan tree is like a lattice of divinity bathed in the light of Bhakti."

Sansanwal works with pen and ink, watercolour and a detailed crosshatching technique using acrylic paint on canvas. He has exhibited his works in several solo and group exhibitions since 1995 and is a recipient of the Lalit Kala Akademi's National Award (2002) and Rajasthan Lalit Kala Akademi's award in 1991.

While it was difficult not to be overwhelmed with the effulgence of spell-binding paintings all around, another one that literally seemed to draw the viewers to itself was the pen and ink rendition of Krishna balancing the Govardhan hill on his little finger while the population of his native Mathura huddles underneath to escape fierce rain and thunderstorm; the latter is depicted with the solid blue background in acrylic, the shade hovering between cerulean and azure.

It's not a surprise that the artist has undertaken several trips to only soak in nature, prominent among which remain his treks through the Himalayas and frequent visits to Bharatpur bird sanctuary, amongst others. 

While the theme of nature, and more specifically, the tree of life, is a very evident summation of his oeuvre, Sansanwal surprises by adroitly amalgamating mythological and other stories in the narrative. It can be likened to coming together of the important strands in his trajectory as an artist — the affinity for nature and the mythological stories that he grew up on, both represented as an organic whole through intricate, dexterous drawing, detailing and crosshatching.

Here's a Q&A that I was fortunate to have with the senior artist on his oeuvre and his journey.

It's so great to have a full-fledged solo show of yours in New Delhi after so long. Why this hibernation?

I don't paint for a show. I paint without any goal and do a show when I feel I'm ready for it. The struggle may be hard and long, but it is like trekking with a heavy rucksack on your back. It is tiring but after two days of walking and walking, suddenly a point comes when you see the snowy mountains... only snow, no human being around. That sudden turn washes off all your fatigue and rejuvenates you like nothing else can.

The plethora of trees, and nature in general, in your canvases shows your close affinity for nature. Is there some deep-seated reason for your preference?

I grew up in a village called Katwariya Sarai — where now stands IIT Delhi — which at that time was about fields and jungles. In primary school, we would study under a tree and the entire day was spent running amongst trees, climbing up the branches, resting under the shade, collecting wild berries... we would spend almost the entire day outside. I remember the evenings spent with my mother listening to mythological stories, which as we all know, are replete with man's close connect with nature. So, years later, when I joined the Delhi College of Art, nature was an integral part of my being. Some more years later, I realized the pull of nature on me and went back to it.

As nature kept pulling me towards it, I gradually realized that I had found my visual language. So, no matter what you learn at an art school — the skills, western techniques, various experimentations, etc., you keep going back to your roots. My roots finally gave me the language that is mine. Now, no matter what theme I may pick up, it is expressed in my distinct language.

Is there any artist whose oeuvre has influenced you profoundly?

My college senior Neeraj Goswami influenced my art, often inadvertently, from which I had to practically wean myself away to be able to chart my own independent journey. Among global greats, Vincent van Gogh, the 19th century Post-Impressionist Dutch painter, has been a profound influence. Till about the third year in college, I didn't quite like realism but then I read Lust for Life [the biographical novel by Irving Stone on van Gogh's life] and was totally converted. Not just his style of painting but his life itself became a huge source of inspiration for me. 

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