SPOTLIGHT ON: ANJANEYULU G  

Elevating Ordinary to the Extraordinary  

Anjaneyulu G

A bowl laden with fruits, cutlery strewn around, a candelabra and candles all arranged on a table the way these items are in our daily lives, have made for a powerful, captivating picture for some centuries now. Either this, or a combination of other such mundane, household items, have always formed an important stage in an artist's life, which art academics refer to as Still-Life paintings.  

Still-Life is one of the most well-known and admired genres of painting, even though many lay admirers of art may not know it is as 'Still-Life' painting that they are admiring! For the uninitiated, it originated as an independent genre during 16th-17th centuries in Europe—during the late Renaissance period—with the Dutch artists adopting it most successfully. The term itself comes from the Dutch 'stilleven', implying motionless natural objects.  

In India, the genre made its debut in the latter half of the 19th century when it started getting taught at the art schools run by the colonial rulers in the presidency towns of Bombay, Calcutta and Madras. In India, it's a genre that has been attempted by almost every artist since those earliest times, and continues to be essayed even today, even though it does not make a frequent appearance in contemporary galleries. Therefore, the show 'Past Forward', currently on view at Art Alive Gallery in Panchsheel Park, New Delhi, came like a refreshing, scented breeze on a humid, stuffy monsoon evening.  

On view through September 7, the show comprises canvases with bright backgrounds, nestling ordinary household items such as kitchen utensils, etc., in the foreground. Their worth lies in their shiny, metallic surfaces, prominently wearing the marks of regular use over the years, through which they tell stories of the households they belong to, giving a peep into the life of the people who use them. 

This is Still-Life at its innovative, contemporary best. Mesmerised by canvases upon canvases cradling such stories that one needs to pause and listen to, I had a brief interaction with the creator of these spellbinding works, the Hyderabad-based artist Anjaneyulu G. He holds a BFA from the College of Fine Art, Jawaharlal Nehru Technological University, Hyderabad, and has several group and solo shows to his credit, as also displays at numerous art fairs, including the India Art Fair.   

Here are the excerpts of my interaction with Anjaneyulu G.  

Q. How and when did you get inspired by Still-Life as a genre of painting?  

I stumbled upon Still-Life painting as a genre that resonated with me when I realized its vast, untapped potential. Many artists overlook Still-Life, perceiving it as mundane or unchallenging. However, I saw this as an opportunity to breathe new life into a traditional genre. 

My fascination with Still-Life began when I started experimenting with single objects on plain backgrounds. This simplicity allowed me to focus on the essence of the object, exploring its texture, form, and relationship with light.

As I delved deeper, I became intrigued by the idea of combining objects from different eras and materials, like bronze and stainless steel, to create visually striking contrasts and reflections. This juxtaposition sparked a new wave of inspiration, enabling me to explore themes of time, memory, and the interplay between the old and the new.

My 'aha' moment came when I realized that Still-Life, often regarded as an 'unfinished' genre, offered me the freedom to innovate and push boundaries. I embraced this challenge, and Still-Life became my genre of choice. I aim to elevate the ordinary to the extraordinary, inviting viewers to rediscover the beauty in the every day.

Q. What was the inspiration behind the series of pots and common household utensils that you paint? When did you first start painting this series?  

I’ve been fascinated with Still-Life for 15 years, exploring compositions, lighting, and human connections with objects. My recent series, which I spent 18 months developing, focuses on pots and household utensils. I’m drawn to their everyday familiarity, the stories they hold, and the emotions they evoke. By combining traditional and modern objects, I aim to capture the essence of domesticity, memory, and the passage of time. 

By depicting marks of use and wear, I highlight the human connection and history behind each object. My focus is on the objects’ journey, the hands that held them, and the memories they evoke. I believe these objects hold a quiet narrative, revealing the essence of the households they come from and the people who used them.

Q. You have been called a ‘chronicler of mundane life’. What other objects of mundane life fascinate you?  

I’m drawn to objects that hold a sense of familiarity and nostalgia. In the future, I’d like to explore painting objects that hold personal significance to me, delving into autobiographical themes and stories. I’m interested in capturing the emotional connection between myself and these objects, revealing the memories and experiences they evoke.

Q. Any artists whose works have inspired you?  

I draw inspiration from a range of artists, including Giorgio Morandi and Jean-Siméon Chardin, who mastered the art of Still-Life and capturing the quiet beauty in everyday objects. I’m also influenced by the works of Hokusai and Bruegel, as well as the timeless beauty of Japanese and ancient Chinese art. The compositions, colors, and attention to detail in these styles resonate with me, shaping my approach to Still-Life painting and my desire to elevate the mundane to the extraordinary.

Q. What are you working on currently?  

I’m currently working on a new series of paintings that explore the theme of ‘domesticity’ in more depth. I’m experimenting with new compositions, colors, and techniques to capture the warmth and intimacy of everyday life. Specifically, I’m focusing on the relationships between objects, textures, and light in domestic spaces. It’s an exciting project that allows me to continue exploring the beauty in the mundane and the stories that objects tell.

ENDS

 SPOTLIGHT ON: ARIJITA DAS

A Shy Artist With Confident Strokes

Artist Arijita Das and  one of her paper collage works
                                        

On a visit to Kolkata some time ago, I met a shy lady at a community gathering, who had one of the sweetest smiles I have encountered in my social circuit. We were introduced and left to ourselves, which was fortuitous as to my pleasant surprise, she turned out to be an artist, and to her utter surprise, I turned out to be a writer of the arts. Our evening, therefore, developed into a series of long discussions, which introduced me to her skills as an artist.

That artist is Arijita Das, who is based in Kolkata (even though I still prefer Calcutta); she is the mother of a 10-year-old daughter Shatabhisa, and is the wife of a noted cardiologist of Calcutta, Dr Sukamal Das. The two realise that they have an amazing artist in their midst who needs only encouragement for her art to become better known; while the daughter, despite her age, doesn't disturb the mother when she is painting, the husband encourages her like a true professional. Says Arijita, "When my husband learned about my passion, he supported me with all the resources required in this field. He always motivates me to do more work."

Arijita is a naturally gifted artist; her well-balanced and aesthetic works belie the fact that she does not have a professional degree in the subject. After completing her schooling from Kendriya Vidyalaya Nagaon (Assam), she earned a BCom degree with Accountancy Honours from Nowgong College and an MCom degree from Gauhati Commerce College, Assam.

Of all the works I have seen of Arijita's, her portraits in paper collages are my favourites. But the range of her art is unlimited as a selection of her works in this post will show.

Paper collage portraits of pioneering Bengali poet and playwright Michael Madhusudan Dutt (left) and Nobel laureate Rabindranath Tagore (right)

Since my first meeting with her, the artist has shared little nuggets about her life and art, some of which I share through excerpts of an interview as follows:

Q. How did you get interested in the arts in the first place?

I have loved painting since childhood. In school, I used to participate in various drawing and craft-related activities, and my teachers used to appreciate my work. My elder brother, Abhishek Das, is also very good at painting. He guides me when required and always motivates me to try something new in my artworks. 

Q. Could you share the techniques of making art that you practice?

I enjoy doing oil paintings and acrylics. Collage is also my favourite medium. I have created many works in collage such as landscapes and portraits.

Q. Who has been your inspiration?

I was born and brought up in Assam. My initial drawing school was named Ruparanga. The principal of Ruparanga, the late Pranab Baruah, was my inspiration. I like to follow his techniques in painting. I grew up learning many things from him, from painting to real life experiences.

Q. Who are the artists whose works you admire?

Among the artists of the past, I admire the paintings of Raja Ravi Varma, Amrita Sher-Gil, Abanindranath Tagore and Rabindranath Tagore. I find Raja Ravi Varma's detailing in his work especially attractive. Gerhard Richter, Peter Doig, Julien Delagrange, Anish Kapoor and Sanatan Dinda are some of my favourite artists from recent times.

Q. What has been your most favourite theme that you have worked on in all these years? 

I enjoy creating emotional and realistic paintings as well as portraits. Some of my paintings are: 'Basic Need', where a mother is breastfeeding her child while drinking water from a river. 'In Mother's Lap' shows a small, orphaned child, missing his mother, who then draws a picture of her with chalk on the roadside and sleeps inside it. In 'A Pinch of Love', a photographer takes a picture of some tribal children who are far removed from modern technologies and shows them how they look in the camera.

 

 Left: Amio Durga (I too am Durga)

                                                                                                                     A Pinch of Love

In Mother's Lap

I have also created many portraits in collage using newspapers and magazines, such as those of Rabindranath Tagore, Kazi Nazrul Islam, and Michael Madhusudan Dutt.

A paper collage portrait of Kazi Nazrul Islam

Q. What is your vision for your practice for the next few years?

Painting is my passion and my peace of mind. My guru, the late Pranab Baruah, taught me that if you follow your passion and love your work, you will be successful one day. In the next few years, I see myself as an important part of this ecosystem of paintings and drawings. 

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